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Digitized by the Internet Archive 
in 2011 with funding from 
The Library of Congress 



http://www.archive.org/details/laceguideformakeOOwhit 



A LACE GUIDE 

for 
MAKERS AND COLLECTORS 



WITH BIBLIOGRAPHY AND 
FIVE-LANGUAGE NOMENCLATURE 



Profusely illustrated with halftone plates a?id key designs 



By 

GERTRUDE WHITING 

Graduated as Professor by the Institut Professional N euchatelois de Dentelles : Founder and 
President of the Needle and Bobbin Club: Lace specialist on the Committee 
on Occupation of the Department of Public 
Charities, New York City. 




NEW YORK 

E. P. DUTTON & COMPANY 
681 FIFTH AVENUE 






Copyright 1920 
By E. P. Dutton & Company 



All Rights Reserved 



JAN 25 1920 



Printed in the United States of America 









©CI A559583 



/\A9 



I 



6 



DEDICATION 

Minnewaska, New Yoek, August 31st, 1917. 



My Dear Miss Burt : 



Most of us must put aside costly pleasures now that America is fighting by 
the side and under the tutelage of the fine, old, lace-making countries ; offering 
them willing hands, keen eyes, and much besides ; ready to succor and nurse 
them until they can again clothe fair lands with rich artistic skill ; ready among 
other things to bring home something of the old world's mellow charm, that the 
joy of beauty as well as practical ability and high morale may be instilled in 
American boys and girls. America is eager indeed to encourage art ; that is, the 
harmony of the material, a link drawing the physical towards the spiritual, and 
adding to the utilitarian a simple grace, an uplifting charm. 

But in spite of the sacrifices necessary to aid and save our elder sisters and 
to develop the best that is in us, we shall not have to forego love and friendly 
fellowship and gratitude. So the costs of war (and doctors) cannot take from 
me either the pleasure of association with you or gratitude for your freely given 
afternoons, helping me to mount these illustrations for the printer when my 
arms were too lame to work, and for your unselfish patience and encourage- 
ment. Having unruly arms and other ailments, is truly worth while when it 
points the way to generous hearts and kind, new friends ! 

Sincerely, 

Gertrude Whiting. 



To Miss Juliet Burt, 
Cincinnati, Ohio. 



CONTENTS 

PAGE 

Diageam of Samplee Iii back cover pocket 

Dedication 5 

Chaptee I — By Way of Introduction 13 

Poem — The Lace Maker 19 

Chaptee II — Suggestions 22 

Chaptee III — Explanations and Nomenclature 35 

NOMENCLATURE 37 

Chaptee IV — Eules 69 

Chaptee V — Bibliography 243 

Index op Bobbin Lace Grounds and Fillings 403 



LIST OF ILLUSTRATIONS 

PAGE 

The Lace Maker, by Pieter van den Bosch 18 

Old Bobbin (From the Author's Collection) 21 

Adjustable Easel-like Stand for Spanish Lace Pillow 24 

Long, Spiral Spring in Place 25 

Showing Bobbins Couched Between Bands of Bibbon 27 

Placing One End of Skein Over the Left Thumb 30 

Laying the Other End of the Skein Around the Little Finger 31 

Bobbins Can Be Easily and Quickly Wound 32 

Old Ehode Island Whale-Ivory, Reel, Winder, or "Swift" (From the 

Author's Collection) 34 



A LACE GUIDE 

for 

MAKERS and COLLECTORS 



CHAPTER I 



BY WAY OF INTRODUCTION 

" 'In time of war prepare for peace.' For there will be a 

future. And in that future there will be emulation, if not rivalry, among the 
peoples of the earth. And the victor's wreath, as well as more substantial fruits 
will be given to those who can produce most cunningly the things that peaceful 
people desire — such as chairs, tables, beds, clothing, utensils, adornments, jew- 
elry, and all things of use or ornament that make men comfortable and tend to 
to make them joyous. 

"Then . . . the nations whose workers in dusty factories transform 
earths into clumsy dishes for common use will get ... a modest or a 
decent living; but the nations whose skilled artisans, guided by gifted and trained 
artists, turn those same materials into forms of grace adorned with lines of 
beauty, will receive fame and fortune, and set their childen's feet on those 
broad plateaus where knowledge and power and enjoyment are to be had." 

— Bulletin of the Metropolitan Museum of Art. 

This little manual is the outcome of six summers' work under the encour- 
agement of the lace director of the Metropolitan Museum. Eealization of the 
fact that in 1912 the museum had few examples of meshes except such as ap- 
peared in scattered bits throughout the delightful collection of berthas, trains, 
fichus, et cetera, that it was difficult to compare the effects of these stitches 
worked in different sized threads, in designs and spaces of varying forms, and 
at different ends of the rooms, and that the few mesh specimens the galleries 
had, were more or less scantily named, the suggestion arose that a comparative, 
indexed sampler of bobbin lace grounds and fillings be made. It is hoped that 
it may prove of use to students of stitchery in general, — or of bobbin lace in 
particular, — to see how certain meshes are woven; that it may aid those planning 
to produce lace, either by hand or machine, in comparing and judging effects, 
in advance, and that it may assist collectors and classifiers to identify lace: 
for after all, it is the actual stitch which finally determines a variety, only 
certain meshes being used in a lace of pure type. As different authors and 
localities use diverse names for the same thing, several appelations have been 
indicated for many of the samples. The index down the two sides of the sampler 
should be used as one given with a map : — tracing down from the number noted 
at the top, and inwards from the letter at the side : the point of junction showing 
the lace in question. 

At first an attempt was made to grade and assort the different kinds of 
stitches ; but this was found impracticable, for as the work grew, meshes found 
here and there, in the country, in the city, on a gown, in a book, were incor- 

13 



14 BY WAY OF INTltODUCTION 

porated. Nor were all by any means exhausted : but some limit had to be chosen, 
so it was decided to stop when an even gross of samples, or a half-dozen seasons' 
work had been completed. The two extra meshes illustrated over and above 
the twelve dozen, are the bobbin-made bands which frame and connect the whole, 
and one little sample made at the very end for fun, partly because the extra 
pattern was already drawn, and partly because of a dislike to show preference 
to one little mite, consigning the other to the waste pape'r basket — though many 
ought doubtless to be there. 

Perhaps a word of explanation should be said about the twenty Trude 
Grounds. They are fancies of the maker's imagination, thrown in for what- 
ever they may be worth; perhaps out of pique, just to show that, rudimentary 
as they may be, America has at least the beginnings of an ability to originate 
her own lace. 

A. Penderel Moody writes, "Fillings should be to the lace-maker what a 
jewel is to the goldsmith. The choice of each for its particular setting will call 
for the exercise of equal taste and discretion. These stitches are known as 
'modes,' or 'jours,' in the great outside world, of which the village worker 
knows so little; needless to say such terms are unknown in the West Country, 
where as often as not, we talk of them as 'villins.' 

"The fillings enrich the work, and also by judicious arrangement break up 
the monotony of a repeating design. 

"The individuality, if one may so express it, of a piece of lace, is enhanced 
by these small changes, and while the foundation remains unaltered, each repeat 
is slightly different, emphasizing the fact that it is not machine-made. 

' ' The space to be filled will often vary greatly in shape and size. Here it 
rests with the worker to decide which is the most suitable stitch to use, and the 
best point at which to hang on. 

"It will often happen that by starting at one particular point, some bobbins 
may be cut off on the one side in time to allow their being used again for the 
widening of the pattern elsewhere. Naturally, this is a saving of trouble, but 
the worker must bear in mind when pricking her filling that if, to avoid the 
use of extra bobbins, she works at a wrong angle, the effect of her work is 
spoilt. ' ' 

The illustrations of stitches in this book are taken from the sampler, the 
patterns or prickings are the ones made and used in connection with it, and 
the text is an attempt to describe how to weave these nets and modes. Arch- 
itects' tracing-cloth can be laid over the designs in the book, the cloth moved 
along two inches at a time until as long a pattern as desired has been traced. 
Black, waterproof ink is the best for this purpose. The tracing need not be 
mounted, but can be laid upon Bristol or press-board for greater strength, the 
same pins holding both board and tracing-paper in place. 

At first glance the mesh-making instructions will seem bewildering: but if 
each one is read entirely through just before using it, and then is followed step 
by step, the making of the lace will unfold without real difficulty. Several of 
the fillings are complicated and one is apt at the start to forget some detail and 
have to undo ; but after about one inch of lace has been successfully made, these 



BY WAY OF INTRODUCTION 15 

tricky points will have become impressed upon the mind, and thereafter cause 
no annoyance. The descriptions are not intended for the absolute beginner; 
but, on the contrary, presuppose a little knowledge of how to handle the bob- 
bins ; and of how to adapt or transfer a coveted groundwork to the lace in which 
it is to be used, or to make of it a plain, solid, insertion by simply adding an ap- 
propriate edge or finish. However, the privilege has been taken of adding a 
few general remarks and instructions that it is hoped may not be considered too 
irrelevant; particularly as they are the result of only limited, personal ex- 
perience. The more the author studies, the deeper she inquires, the better she 
realizes the possibilities and complexities of her subject, and the likelihood of 
error and confusion. There are several books of manual instruction for bobbin- 
lace beginners, among them : — 

"The Priscilla Bobbin Lace Book." 

"Pillow Lace" by Elizabeth Mineoff and Margaret S. Marriage. 
"The Art of Bobbin Lace" by L. and B. Tebbs. 
"La Dentelle" by Mme. Marguerite de Brieuvres. 
"Manuel de Dentelles aux Fuseaux" by Mme. H. H. de Juillien. 
"D. M. C. Library Encyclopedia of Needlework" (translated into all prin- 
cipal languages) by Therese de Dillmont. 

"Bibliothek D. M. C— die Kloppelspitzen, lte Serie." 

A book giving elementary instruction, unexplained by cuts: but also ad- 
vanced rules and stitches with illustrations : and one that is recommended in 
connection with "A Lace Guide for Makers and Collectors" is: — 

"Devon Pillow Lace, Its History and How to Make It" by A. Penderel 
Moody. 

In an article written some years ago, Mrs. Florence G. Weber says, "At 
Burano in the Royal Lace School under Queen Margherita's patronage, I found 
splendid conditions. The girls work from nine to twelve, and from two to four. 
The patterns are all dark colors. They wear clean cotton dresses and dark 
cotton aprons. Take note, feminine reader, you who put on a dazzling white 
apron when you sit down to fine work ! It was my good fortune to see the girls 
come out at noon. They wear a cotton kerchief pinned over the head to keep 
their hair clean. Their shoes are simply a sole of wood held on by a leather 
strap over the instep. At every step, the wooden sole clicks on the street. As 
the girls poured out of the shop, the noise of their shoes reached us a block away, 
until the whole three hundred pairs of wooden soles clicking over the stone pave- 
ment produced in me much the same feeling as the musical rattle of hundreds of 
lace-bobbins. When I hear it blended with the soft voices of my girls, it suggests 
at once the combination of industry and the joy of youthful content. I was full 
of theories when I went to Europe : my experience with the girls in our shop 
had been that lace-making first of all is a joy to the worker. It is a pursuit so 
refined, so ennobling, that this fact alone is a plea for our industry in Boston. In 
Europe, my theories proved true. In the lace-making villages, the women are 
of superior type. They are never idle. Their manners and voices are gentle. 
Their work is a constant joy. Never did I find one who admitted it a strain 



16 BY WAY OF INTRODUCTION 

upon the eyes. Do not believe all the constantly published paragraphs about 
lace-makers going blind in factories ! The lace is no longer made under painful 
conditions — in damp cellars. Good lace-makers are valuable to their employers 
and skill is to be treasured, not abused. They do not work in dark rooms at all, 
but in upper stories of well-lighted and well-ventilated buildings. Personal 
cleanliness is essential at all times." 

The following paragraph from "Lace-Making in the Midlands" by C. C. 
Channer and M. E. Roberts gives us another glimpse into the life of the lace- 
maker, showing us that in England as in Italy "there is a freemasonry between 
lace workers which, once formed, is very strong; a feeling of kinship which is 
not easily understood by those outside" — the "spell that lace seldom fails to 
throw over its devotees. ' ' 

' ' There are hundreds of women between sixty and ninety years of age quite 
unfit for any other kind of work who keep themselves by it in independence; 
any lace-buyer can count up a large number who keep their husbands as well — 
husbands past work, crippled, or blind, or bedridden. The old mother living in 
the son's or daughter's house, past being any assistance in the housework, feels 
the delight of not being a burden on the hard-pressed children. She can sit at 
her pillow part of the day and earn the four or five shillings a week which keeps 
her. Perhaps to the aged the occupation is almost as great a boon as the earn- 
ings, and this accounts for the intense pleasure with which the work is almost 
always spoken of. When sons and daughters are all grown up and gone away, 
the long days may be unspeakably dull to the old couple, but the wife can always 
make herself happy turning over the bobbins. We went to see a widow, over 
eighty years old, living all alone, and tried to buy some of her beautiful lace. 
'When my husband was alive,' she said, 'he didn't care for me working at it, so 
I put it on one side; but now he's dead, I couldn't do without it, I should be so 
dull.' She could not sell us any of her work, she had orders that would keep her 
busy for months to come. 

"But it is not only the aged who are glad of the work; .the mother of the 
family finds it a great help. When the housework is done, and the children are 
all away at school, she can sit down and work for a couple of hours, and the 
week's earnings will be a comfortable addition to her man's wages, especially 
when there is a large family. There is no other industry so convenient for the 
home. It is clean work and needs cleanliness, for lace must be spotlessly white 
if the worker is to get her full price. It creates no litter and no untidiness. The 
pillow stands by the window with a cloth thrown over it and the chair ready 
before it. When baby is put to sleep, the mother has but to lift the cloth and 
begin her work : there is no getting out of material and implements, and no put- 
ting away and clearing up when the children come home to tea. Where certain 
other work is taken at home, the littered floor and whirring machine make an 
unpleasant contrast to the tidiness and quietness of the bobbins with their little 
subdued rattle so pleasant to the ear. Lace-making is not tiring, nor in any 
way trying ; given suitable spectacles for the old women, it is not at all trying 
to the eyes — indeed, an expert worker on a lace she knows well, looks at it no 
more than a needlewoman looks at a long seam. 'I could do it with my eyes 
shut' is a phrase one often hears of lace-making, but we take that statement for 



BY WAT OF INTRODUCTION 17 

what it is worth. It is not monotonous work, for even in the simplest lace the 
pattern creates a variety of motion and sufficient occupation for the mind. 'My 
mother always said that to sit down to her pillow was the best rest she could have 
after her work, ' we have been told by the daughter of a famous lace-maker. ' ' 

"Art gracieux, travail bienfaisant", wrote M. Engerand. "Sa nature meme 
se concilie avec les obligations de la vie rurale; on le quitte et reprend sans 
dommage. C'est 1 'ideal d'un travail feminin, peu fatigant, presque recreatif, 
distingue, s'exergant a la maison; dans la belle saison, en plein air ou sous les 
pommiers ; procurant aux enf ants un salaire presque immediat, permettant aux 
vieilles de gagner quelque argent jusqu'a la mort. Est-il vraiment beaucoup 
d'industries plus touchantes, plus interessantes, mieux adaptees aux necessites 
de la vie des champs?" 



18 



A LACE GUIDE FOR MAKERS AND COLLECTORS 




THE LACE MAKER. 
By Pieter van den Bosch. 



TEE LACE-MAKER 19 



THE LACE-MAKER. 

When in doubt, when in dread, 
When her sky's overblown, 

To the plier of thread- 
Gentle artist unknown — 

Comes the blessing of work, 

Of her fine, quiet work. 

Her poor form can relax 
As with pillow she sits, 

Deftly weaving the flax 

That is wound on her sticks, 

On her bobbins is wound, 

To their spindles is bound. 

Oh, such merry tools these, 
Quaintly carved and turned, 

Tinkling, trying to please 
With the lullabies, learned 

As they twist, mingle, toss 

In life's take, give and cross! 

As the rhythmic repeat 
Of their come and their go 

Soon becalms by its beat, 
By its cadences, so 

Her resistance it smoothes, 

It uplifts and it soothes. 

From her fingers is shed 

By the exercise light 
All the nerve-poison bred 

Through her worrisome plight ; 
It unconsciously slips, 
As it were, from their tips. 



20 A LACE GUIDE FOR MAKERS AND COLLECTORS 



Not, perhaps, sensing how : 
Yet her sore troubled mind 

"By the sweat of the brow" — 

The work's light though in kind — 

Has ceased fretting, grown clear, 

Forgot self, forgot fear. 

Unpreoccupied, free 

And receptive at last, 
Like the heart of a wee 

Little child, unharrassed, 
Is the thread worker's soul, 
Ay, her patient-grown soul. 

She can now hear the voice — ■ 
That "still small voice" of God's— 

That leads all to rejoice, 

Fills their souls with the Lord's 

Inexpressible peace; 

Peace which never need cease 

E'en midst tumult and war, 

If our part therein's just 
And we seek nothing more 

Than the duty we must 
Carry out and with cheer, 
Carry on without fear. 

Thus her struggle so true 
That her heart's very beat 

Has rung upward and through 
To the Heavenly Feet : 

Yea, her effort sincere 

To do right, persevere, 



TEE LACE-MAKER 



21 



Has brought insight and cheer, 
Taught her lace-maker's skill — 

Skill so oft without peer — 
Taught her faltering will, 

To work on, not to slack, 

To "look forward, not back": 

That God helps us to cope 
With our troubles, if we 

Will keep on and but hope, 
Will but lowlier be, 

Not obsessed by dismay, 

Not obstructing the way: 

Taught her hands and her mind 
Nimbly forward to fly, 

Spinning each in its kind, 
And with patience to ply, 

Weaving fabrics of worth, 

Adding grace to the Earth. 




OLD LACE BOBBIN. 

(From the Author's collection.) 



CHAPTEE II 



SUGGESTIONS 

"Who would believe/' said the weaver of braid one day to his neighbor 
the lace-maker, "that 1 ell of thy lace should be worth more francs than 10 
ells of 2 carat gold galloon?" 

"Thou oughtest not be surprised," she answered, "that my merchandise 
should have a value so greatly above thine; that is because Art is worth more 
than Matter." 

— From Thomas de Yriarte, 1750. Teneriffe. 

In the chapter on Tools in "Pillow Lace" by Elizabeth Mincoff and Margaret 
S. Marriage, the writer says : — 

"Here I should like to protest against the hide-bound conservatism that 
rules — sad to say — especially in women 's handicrafts. Why should we so illib- 
erally cling to some traditional way of holding the hands in our work as the 
only correct one ? Why cannot we recognize the fact that our hands are shaped 
differently, the strength of our muscles balanced differently, that some are 
stronger in the wrist, some in the fingers, and so can never use their force 
to best advantage by all trying to pose themselves in some one accepted tra- 
ditional way? 

"In many parts it is traditionally correct to hold a great number of bob- 
bins in the hands while working. It is possible in this way for some to econo- 
mize the time they would spend in taking up and setting down the pairs in 
use. But that is no reason why the beginner should feel herself clumsy and 
amateurish because she can work better with only two pair in hand at a time. 
This is much less confusing, and I have known a fairly experienced worker to 
waste more than the time she gained in having the bobbins so close at hand, 
by being obliged to undo a good part of her work because she had got hold of 
the wrong pairs. The Flemish lace-makers, who work very fast indeed, retain 
no bobbins in the hands, but let them all lie in a row on a stiff card fastened 
across the pillow, lifting each bobbin in turn over the next. 

"Work in the way that comes natural to you. There is no need to follow 
slavishly the rules laid down in this or in any other book, in order to become 
expert. If the instructions given here appear precise and dogmatic, it is be- 
cause to give a choice of methods confuses and worries the beginner, not that 
only one road 'leads to Borne.' Later on, the worker, gaining experience, will 
find short cuts and ways of her own. 

"Take pains to find the most comfortable pose for working, the best 
heights for table, stand, and chair, so that you do not have to bend over your 
work, nor fatigue your arms with raising them unduly. These details, un- 

22 



SUGGESTIONS 23 

noticed at first through, absorption in the work, afterwards make themselves 
most unpleasantly apparent in stiff neck or arms. 

"Do not hurry because you have heard professional workers clicking their 
bobbins at a great rate ; remember that they mostly make one pattern day after 
day. The amateur has no need to turn herself into a machine, and cannot ex- 
pect to work as fast as if she did so. Lace-making is a pleasant and soothing 
employment; if it 'excites the nerves,' as I have heard German ladies com- 
plain, it is because the worker does not take it in the right spirit, either re- 
garding it as a task to be finished quickly, or as an opportunity of 'showing 
off.' " 

The advantages of the Spanish, lace pillow are many. This upright, cylin- 
drical pillow, used also by the revivors of Swiss lace-making, can be placed in 
an adjustable easel-like stand, or its lower end put upon the worker's knees, while 
the upper end leans upon a chair-back, against a table-edge or wall ; or should the 
lace-maker be outdoors, a tape or ribbon can be secured behind the pillow by a 
pin, then this band can be crossed over and behind the worker's shoulders, 
brought forward and tied around the waist. The disadvantage of this last method 
is that when one leans forward to inspect a certain point, the pillow tips for- 
ward with one. Should the chair-backs available be rounded up instead of being 
scooped, a soft pillow, or a divided air-cushion placed between cushion and chair 
will keep the former from rolling or sliding. No basket, box, table or foot-stool 
is necessary. The work is level with the eyes, avoiding a bent-necked, stoop- 
ing, hollow-chested position, making it unnecessary to hold the arms in a tire- 
some, spread-eagle way above the work, but allowing the elbows to fall naturally, 
for the bobbins hang down into the hands, making it possible to manipulate six- 
teen at once, instead of lifting one slowly above another ; or in an effort to hurry, 
throwing one out of place too far beyond the other. The hanging of the bobbins 
keeps the threads taut and the lace smooth, without ugly loops. Suspended bob- 
bins do not slip out of their nooses as do those lying on a horizontal pillow, nor 
can they roll sideways and backwards out of place, but naturally remain on the 
front of the cushion. 

Brass pins bend and steel ones rust, so that nickel-plated tin seem to be the 
most all-around. The heads should be small, so as not to obstruct the view of 
the work beneath them, and so as not easily to catch threads when one is making 
a serpentine or tape-like design, when, of course, the pins are supposed to be 
pushed all the way into the pillow. For this reason pins should not be too long, 
and on account of fine laces, the shanks should be slim. The ordinary pin found 
in nearly all large American department stores that seems best to fulfil all 
these requirements, is Kirby, Beard and Company's S.W. Ne Plus Ultra, Solid 
Head, Smooth, Adamantine Points, % of an inch long. However, special lace- 
makers ' pins can be bought in Europe. A long fine pin is very useful in reach- 
ing in among the others to push something into place, or to assist in untying a 
knot. 

Long, spiral, steel springs can be obtained, pinned to stand out straight hori- 
zontally against the cushion, or wrapped around it and hooked behind, at a height 
or level just above the heads of the bobbins, so the threads will fall between its 
meshes and remain in place. To prevent having to lift each thread out from 



24 



A LACE GUIDE FOR MAKERS AND COLLECTORS 




ADJUSTABLE BASEL-LIKE STAND FOE SPANISH LACE PILLOW. 



SUGGESTIONS 



25 




LONG, SPIRAL SPRING IN PLACE. 



26 A LACE GUIDE FOR MAKERS AND COLLECTORS 

a deep cleft between spirals, the spring should be of small diameter ; say a quar- 
ter of an inch. If it is not brass or nickel plate, it should be kept carefully free 
of rust. 

One can conveniently couch hundreds of bobbins or sticks in the order in 
which they are used by laying a broad tape or ribbon between superimposed lay- 
ers of them, thus keeping an upper layer from falling into those beneath. A 
long tape is pinned at its centre to the middle of the pillow, and the right-hand 
end forms a zigzag back and forth from the centre to the right-hand edge. The 
left end zigzags back and forth between the left-hand layers of bobbins. Of 
course, a large supporting pin has to be placed in the middle and at each end 
to turn or wrap the tape around. The outer edge bobbins should be placed first, 
the left-hand ones way to the left, the right-hand ones way to the right. Then 
both sides are filled up to the centre pin, pair by pair. Now the tape, starting at 
the middle, is laid flatly over this first layer of bobbins, each end of the tape in 
its own direction over the big end pins. Starting at the centre from where one 
left off, adhering to respective sides, another layer of bobbins is couched until 
one reaches the two outer pins ; when the tape going around these pins, returns 
to be folded around the centre support, so that more bobbins can be added; and 
so on. When the lace-maker is using the bottommost bobbins at the left of the 
lace, the other left edge bobbins are laid in the same orderly fashion upon the 
right-hand ones — with tape between, of course. Thus, first the left is laid upon 
the right-hand pile, then vice versa ; and if done regularly, the bobbin next wanted 
will generally be the next to hand. Long stiff pins can be ranged fan-like to sep- 
arate pairs, or to hang successive pairs upon. This avoids confusion, broken 
threads, knots, eye-strain and loss of time. Some schools teach that it is advis- 
able to adhere to a fixed, orderly method of starting lace, and on account of the 
securing of cutworks, the left 'side has proved the more advantageous to begin 
from. Therefore, by first couching the right-hand bobbins, the left-hand ones 
come nearer the top. In many cases, however, it is just as easy to begin weav- 
ing at the centre without first unpiling the bobbins. To unpile, one lays the top 
left-hand layer of bobbins upon the top right-hand layer, doubles back the right- 
hand tape once more, and so forth until the bottom or edge left-hand bobbins are 
exposed, ready for working. One then works layer by layer towards the centre. 
A pillow should never be put aside without first securing a ribbon firmly over 
even the top layer of bobbins and pinning it down tightly, so nothing can slip and 
no one can inadvertently upset the work. Time is not then lost in recommencing 
later on. And the pillow, first swathed in a roll of clean, washable linen or silk, 
can be safely taken about in a shawl-strap or steamer-rug roll. 

This inside cover should be kept around the pillow even at home, to prevent 
dust or insects from settling upon the lace, and to lay under and behind the cush- 
ion when in use, to keep pins on the back of it from scratching wall or furni- 
ture. Cover and bobbins should be scrubbed before starting a new piece of work ; 
but bobbins ought not to be soaked, as they are liable to warp. Should a creamy 
lace be desired, it would be better to rely upon unbleached linen, than upon the 
discoloration that comes from careless handling, for this of course, rots the thread 
and lessens the value of the product. Moreover, should the work become more 
tawny than intended and so require washing, there is risk of spoiling the original 



SUGGESTIONS 



27 




SHOWING BOBBINS COUCHED BETWEEN BANDS OF RIBBON. 



28 A LACE GUIDE FOR MAKERS AND COLLECTORS 

charm of its delicate and perishable web. A damp washcloth can be kept in a rub- 
ber sponge bag or pocket at one's side and used whenever the hands feel sticky. Or 
those who suffer from moist hands, can use some of the various toilet prepara- 
tions on the market; keeping the hands soft, nevertheless, by the use of some 
soothing balm or lotion. 

When tape laces are made on the Spanish or Mexican pillow, a stiff felt not 
quite half an inch thick and about ten inches square, is attached to the pillow by 
one or two pins and turned or tipped from side to side as the serpentine design 
progresses. The bobbins therefore, always bang in the normal position and do 
not entangle themselves helter-skelter by catching in pins behind them in the 
work already completed. Such felt can be procured at a harness shop ; or better 
still, at a felt manufacturer's. 

In making long continuous strips of lace, when the lower part of the modern 
Swiss pillow is reached, a ribbon is laid under all the bobbins, and in tying, the 
outer bobbins are lifted upward and inward. This bunch is held in one hand 
while the last incb of work and pins are removed from the pattern. These pins 
should be laid over the corresponding part of the pattern on the upper part of 
the cushion, the bobbins so supported that the threads will not pull, and the pins 
pushed into their new places, thus firmly securing an inch of lace from which to 
work. In moving, the pins ought not to be pulled out of the lace, but only out of 
the pricking. The ribbon can now be removed and weaving continued. 

Art needlework departments and fancy work shops keep pointed and blunt 
ended tweezers, which save one's nails and fingers a good deal of damage in re- 
moving pins. 

The cylindrical pillow is about 26 inches long by 7 inches in diameter. Long 
clean straw is tightly tied together, some of the heads of the straw placed along- 
side some of the stalk ends to assure even thickness. If the cushion is thin and 
slight in diameter, there is less width of surface upon which to spread the bob- 
bins. When the desired diameter has been obtained, the ends of the straw are 
chopped off to the correct length. A heavy roll of ticking or denham is sewed 
tightly over the straw and two circular ends are sewed on. 

Short or long pattern-prickings canbe used upon this upright pillow, and 
two or three different pieces of lace can be in the making at once on different 
sides of the cushion, thus varying the work and relieving possible monotony. 
Two exactly similar, short patterns can be used on no matter what type of cush- 
ion, by placing one alternately below the other, and when the first one is all 
worked and the pins removed, placing that in turn below the one which was pre- 
viously below it. It is easier to see and work on a dark pattern with light lines 
than on a light pricking with black lines, as white threads stand out more dis- 
tinctly against a dark background. 

Bahrenburg, 401 Lafayette Street, New York City, sells a soft, light green 
"Mytho" Bristol board No. 533, 20 by 32 inches, that is light enough to show ink 
marks clearly, dull enough to rest the eyes, and is interlined with muslin to pre- 
vent tearing; an excellent material for bobbin lace prickings. 

If one sits with a window or lamp directly to the right or left, one side of the 
thread is in the lig'ht, the other in the shadow, thus showing more plainly than 
when the light comes over the shoulder making all the threads dead white, not 



SUGGESTIONS 29 

outlining one against the other. Splendid adjustable lamps now come, throw- 
ing their light in four directions. The three direction lamps are not fully ade- 
quate, and the addition of a movable blinder is a great help. The three direc- 
tions in which many lamps move, are a sliding up and down motion, a swinging to 
the right and left, and a tilting to the right and left. They should also tilt or 
turn up and down as well as slide, just as a snake-necked lamp will ; for the light 
should not shine downwards through the lace pins, casting shadows onto the 
working space, but upwards through the working place in among the pins, so the 
work just finished can also be observed. And the light beams should not flare 
out sideways into one's eyes. There is a modern theory that one should not look 
through a layer of darkness into a band of light, as this might cause a contra- 
dictory contraction and expansion of the pupil of the eye. But to execute lace 
in a diffused light is certainly very trying. The happy medium might be to 
place oneself in a broad, general light and then add a concentrated light directed 
solely upon the work. In this connection it may be interesting to note that in 
European lace-making communities, each worker has a bottle or jar of water 
tinted blue which she places in front of a candle or lamp to concentrate yet soften 
the light thrown upon her pillow. 

In weaving wide lace, also in using fine thread, or for the so-called Italian 
method (that is, sewing or crochetage), slim, pointed Devonshire bobbins will be 
found to take up much less room, and their pointedness and lack of protruding 
flanges (the thread space is indented) allow them to slip easily through a loop. 
See the illustration in the lower right-hand corner of the sampler diagram. 

A reel or yarn winder, though convenient, can be dispensed with, as a skein 
of thread can be held around the left hand and wound onto a spool or bit of card- 
board in the right hand, by just placing one end of the skein over the left thumb, 
bringing the skein across the inside of the hand and around, across the back; 
again over the palm and around the back a second time ; then across the inside 
of the fingers, a third time, laying the other end of the skein around the little fin- 
ger. The fingers and thumb should then be stretched apart to keep the thread 
from slipping off. Care should be taken not to twist one strand of the skein 
over the other, but to keep the two sides parallel. 

Some people prefer to shrink each skein before using it. 

A bobbin winder is an unnecessary article for a lace-maker to store or carry 
about with her, as the bobbins can be easily and quickly wound by tying a heavy 
white thread, preferably a tightly twisted or glazed one, single or doubled, to a 
long pin, and sticking the pin firmly into one's pillow or the upholstered arm of a 
convenient chair. The point of the pin in this case should be slanted towards one 
to anchor the work, as in hemming. Here it might be parenthetically said, that 
in bobbin lace-making, pins should always be placed somewhat at this angle in 
order that they may not give and allow threads to slip out of place; but they 
should, however, all slant at the same angle. The heavy white thread referred 
to in a previous sentence is called a cable. A cable should be, roughly speaking, 
about eighteen inches long: but many workers prefer a very much shorter one. 
The loose, lower part, not necessarily the very end, of the cable is customarily 
held firmly by the left thumb twice around the forefinger of the left hand, com- 
ing up in front of it. To secure the lace thread to the bobbin, an end should 



so 



A LACE GUIDE FOR MAKERS AND COLLECTORS 




PLACING ONE END OF SKEIN OVER THE LEFT THUMB. 



SUGGESTIONS 



31 




LAYING THE OTHER END OF THE SKEIN AROUND THE LITTLE FINGER. 



32 



A LACE GUIDE FOR MAKERS AND COLLECTORS 




BOBBINS CAN BE EASILY AND QUICKLY WOUND. 



SUGGESTIONS 33 

be placed towards the right across the handle flange at the lower end of the 
spindle and held there for a moment by the right forefinger. Then winding the 
thread twice down behind the back and up around the front of the spindle, one 
turns the thread end back towards the left across these two twists, using the left 
thumb and forefinger, replacing the right-hand finger to secure the reversed end, 
while one continues to wind three or four rounds of thread on top of it. The 
worker can then begin using the cable, in the meantime replacing the first right- 
hand finger by the second if necessary. The lace spool or thread holder is laid in 
one's lap or somewhere else just below the left hand, and the lace thread comes 
up to the bobbin on which it is to be wound, behind the little and forefingers, in 
front of the two center ones of the left hand. This permits of an adjustable ten- 
sion. The bobbin is held horizontally in the light hand with its head towards the 
left, the handle sloped slightly to the right to make the thread wind nearer the 
handle end than the cable end of the spindle. The thread groove around the head 
of the bobbin or upper end of its spindle just nest to the spreading head flange, 
is laid in front of and against the cable. The lower end of the cable is then 
brought up in front of, over the bobbin, and down behind it, making one loop 
around — without a knot. The bobbin should slip or slide up and down in this 
loop, so the loop ought not to be kept too tight or the bobbin cannot move. If, 
however, the cable is too loose, the bobbin will slip out. Practically the whole 
trick lies in this tension : but that this is easily and quickly mastered, is shown by 
the fact that some little four-year-old, meningitis patients learned it without dif- 
ficulty. The cable must be around the stick only, not in with the thread, or the 
bobbin cannot turn. The two first fingers of the right hand are placed above 
and down behind the bobbin to the left of its handle-flange, the other two right- 
hand fingers are similarly placed: but to the light of the flange: the forefinger 
to the left of the cable, the other three to the right, one over the thread or spin- 
dle part, two over the handle. This keeps the bobbin properly centered, and 
these fingers are used to push or slide the bobbin down the cable, allowing the 
stick to roll. The thumb of the right hand is placed below the bobbin to the right 
of the cable and handle-flange, in what is the slender part of most bobbin han- 
dles, thus leaving a clear view of whether the thread is winding smoothly; and 
pushing the stick upwards on the return movement without the bobbin's rolling. 
To prevent its rolling, the thumb, of course, grips it more tightly for the mo- 
ment. Once this simple trick is mastered, it seems very easy and is great fun ; in 
fact, one feels as though one were playing a game rather than really working. 

If the bobbins are wound on the two ends of the same thread, winding the 
first from the spool or ball, then measuring and cutting off what one wants for 
the second stick, no knot appears at the beginning of the lace. Knots, of course, 
have to be avoided in the midst of fine w ork, when one is adding an extra pair 
astride the weavers right in the middle, where there is no seam or pin. Begin- 
ners find it easier to knot two threads together around a pin at the start of a 
new piece : for otherwise until a little lace has been woven, securing the threads, 
one bobbin of a pair, when pulled, pulls up its mate on the other end of the thread. 
To wind sticks in advance and keep them until needed without tangling, one can 



34 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



wind each bobbin rigbt up to the middle of the thread, there making the usual 
slip-noose, bringing the second stick close up to the first, with not more than a 
half inch of loose thread between them. Should one wish, an elastic band can 
then be slipped over the two handles. 




OLD EHODE ISLAND WHALE-IVORY REEL, WINDER OR "SWIFT." 
(From the Author's collection.) 



CHAPTER III 



EXPLANATIONS AND NOMENCLATURE 

"The most perfect must by reason of its very perfection lack the impression 
of life which the very faults and irregularities of human handiwork can alone 
produce." 

There are two general definitions of lace : — one, that it is any fancy work 
which consists of more or about as mnch open space as solid part, including such 
products as drawn-work, reticello, cutwork, punched-work, darned net or tam- 
bour work, and Carrickmacross, which is the application of muslin onto net; — 
the other, that lace is evolved entirely from a simple length of thread, without the 
foundation or addition of linen, net or any other fabric. Such laces are netting, 
macrame, needle-point, bobbin lace, knitting, crochet and tatting. 

Carita says : ' ' The following words of Charles Blanc very graphically con- 
vey the pleasure that will assuredly result from attempting to work out the many 
intricate and clever stitches handed down to us through the ages. 

" 'When we see these traceries so skilfully plaited in which straight lines 
and curves intermingle, cross, branch out, disappear and recur, we experience a 
high pleasure in unravelling a puzzle which at first perhaps appeared to be un- 
decipherable, and in acknowledging that a latent arrangement may be recognized 
in what at first and at a distance seems an inextricable confusion. ' ' ' 

TERMS 

By twisting is meant, placing the right-hand bobbin over the left of the same 
pair. 

By crossing is meant, placing the left-hand bobbin of the right-hand pair un- 
der the right-hand bobbin of the left pair. 

By sewing, raccrochage or crochetage is meant, hooking one thread of a pair 
through a small opening, usually a pin hole, by means of a fine crochet hook or 
pin : then passing the other bobbin of the pair through this loop, and closing the 
loop by pulling up the first bobbin. 

By closing is meant making the same stitch after placing a pin, as one made 
just prior to placing it. 

By half-stitch is meant twisting, crossing. 

By cloth or linen stitch is meant crossing, twisting, crossing. 

By whole or double stitch is meant the half-stitch repeated. 

By Winkie Pin is meant an edge where the weaver comes out (sometimes 
twisted, sometimes not) around a pin and returns to its former work. This edge 
is made up of many tiny loops. ■ 

By Bohemian Edge is meant an edge where the weaver comes out from its 
work and (generally after being twisted) is woven through an outside, hanging, 

35 



36 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



waiting pair; which then becomes the new weaver, going around a pin back into 
the work proper, while the former weaver hangs idly awaiting the next similar 
edge operation. The pin is not closed. In this way an extra pair is required, 
as the weavers alternate in their work. The edge formed has a solid outline. 

"Wincken" is the Dutch word for a quick movement, hence the English 
word "wink." A winkie pin edge can be made in less time and with fewer pairs 
than a Bohemian edge with its outside couples and e*xtra twisting. 

Just here it should perhaps be added that different authors use various 
terms for the same stitch or instrument, as indicated in the following five-lan- 
guage, lace nomenclature. Moreover, teachers vary in their instruction for form- 
ing even the elementary half, linen and whole stitches. For example: — 
The "Priscilla Bobbin Lace Book "says: 

Half throw — twist, cross. Whole throw — twist, cross, twist, cross. 
The "D. M. C. Library Encyclopedia of Needlework" says: 

Half passing — twist, cross. Double passing — twist, cross, twist, 
cross. 
"Pillow Lace" says: 

Half stitch — twist, cross. Cloth or whole stitch — cross, twist, cross. 
"Die Kloppelspitzen" says : 

Halbschlag — twist, cross. Granzschlag — twist, cross, twist, cross. 
"A Text Book on Cliray and Torchon Laces" by M. E. Woodward, says: 
Half point — cross, twist. A point — repeat the preceding. 
Point matte — cross, twist cross. 
"The Art of Bobbin Lace" says: 

Half stitch — cross, twist. Cloth stitch — cross, twist, cross. 
' ' Devon Pillow Lace ' ' says : 

Half stitch — cross, twist. Whole stitch — cross, twist, cross. 
The Torchon Cooperative Lace Company, formerly of Chicago, says : 

Half throw — cross, twist. Linen ground — cross, twist, cross. Whole 
throw — cross, twist, cross, twist. 
The "Manuel de Dentelles aux Fuseaux" says: 

Demi-point — twist, cross. Point entier — cross, twist, cross. 

I have, therefore, chosen the system which appealed to me as the more logi- 
cal and thorough, although either method uniformly and consistently followed, 
will give the same result. 





jM 



EXPLANATIONS AND NOMENCLATURE 37 

In describing the following meshes, the author has often stated that it re- 
quires so and so many bobbins for the making of a certain stitch. In this case, 
however, for the sake of making the explanation clear, the stitch has been iso- 
lated and described as though it were going to be woven all by itself. Should the 
maker wish to have several continuous lines or columns of any such mesh, not 
so many bobbins would be required as might at first appear. That is, if the de- 
scription says that one mesh requires eight bobbins and one is about to make six 
such stitches side by side, it will not be necessary to use six times eight bob- 
bins, for there is more or less give and take between pairs; that is, the strand 
which forms the left edge of one mesh also forms the right-hand border of an 
adjoining stitch. 

A LACE STUDENT'S NOMENCLATURE 

"A small thing may make Beauty, 
Yet Beauty is no small thing." 

— Michelangelo. 

The following lace vocabulary or, more correctly speaking, nomenclature, 
can be largely supplemented and improved by readers who are linguists or who 
have studied abroad. There are spaces where missing or more appropriate 
words can be inserted, giving to each volume an added and individual value. In 
addition to the knowledge of terms gained by the author in studying lace-making 
and its history in different European countries, many — very many — diction- 
aries and technical books have been used in checking and counter-checking, and 
a number of foreign authorities consulted. 

The names of stitches and varieties of lace are not included. See the index 
for a partial list of these: but the nomenclature applies to knotted, knitted, cro- 
cheted, needle, bobbin, run, applied and mixed lace : not, however, to the machine- 
made. Designing, laundering and historical terms also are given ; as well as the 
names of those articles frequently made of lace or trimmed with it, and the tools, 
materials, et cetera, used in making it. 



38 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



ENGLISH 


FRENCH 


ITALIAN 

1'intelligente 


SPANISH 


GERMAN 


Ability, dexterity, 


l'habilete, la dex- 


la desteridad, la ha- 


die Fahigkeit, die 


deftness 


terity, l'adresse 




bilitad 


Fertigkeit, die 
Geschicklichkeit 


Adapt, to, recon- 


adapter, ajuster, re- 


adattare 


adaptar, ajustar 


anpassen 


struct, to 


construire 








Admirer : see Ama- 






* 




teur 










Agate : see Puff 










iron 










Agent, commission 


la factrice, le fac- 


l'agente, il fattore 


el factor, el agente 


die Kauferin, die 


agent, middle- 


teur, la koop- 






Kommissionarin, 


man, collector, 


vrouw, la facto- 






der Geschaftstra- 


buyer, factor 


resse, l'interme- 
diaire 






ger 


Alb 


l'aube 


il camice 


el alba 


das Chorhemd 


Album 


l'album 


l'album, il libretto 
dei ricordi 


el album 


das Musterbuch 


Aloe (tree) 


l'aloes 


1'aloe 


el aloe 


die Aloe 


Alpaca : see Mohair 










Altar-cloth, cere- 


la nappe d'autel 


l'altare 


la sabanilla 


das Altartuch, die 


cloth 








Altardecke 


Altar-hangings, al- 


le parement d'autel 


il paramento 


la colgadura de al- 


der Altarbehang 


tar-curtain 






tar 




Amateur (beginner, 


le commencant, la 


1'incominciatore 


el aficionado 


der Anfanger 


not professional- 


commencante 








ly trained) 










Amateur (lover, 


l'amateur, l'ama- 


il dilettante 


el aficionado 


der Amateur 


fancier, admirer) 


trice 








Amber 


l'ambre 


l'ambra 


el ambar 


der Bernstein 


American (adj.) 


americain -e 


americano 


americano 


amerikanisch 


Angel 


1'ange 


l'angelo 


el angel 


der Engel 


Aniline, anilin : see 


l'aniline 


l'anilino 


la anilina 


die Anilin 


Dyestuff 










Antimacassar : see 


l'antimacassar, la 


l'antimacassar 


el antimacassar 


der Schorner, die 


Tidy 


pommadiere, le 
dessus de fau- 
teuil 






Schutzdecke, die 
Sofadecke zum 
Schutze gegen 
Haarolflecke 


Antique (adj.) 


antique 


antico, vetusto, an- 
ticho 


antiguo 


alt, antik 


Apparatus : see 


l'appareil, l'usten- 


l'apparecchio 


el aparato 


der Apparat 


Tool 


sile, l'outil 








Applier (of lace) 


1'appliqueuse 


l'applicatrice 


la aplicadora 


die Auflegerin 


Apply, to, onlay, 


appliquer 


applicare 


aplicar 


auflegen 


to : see Setting 










Apprentice 


l'apprentie 


l'apprendista 


el aprendiz 


der Lehrling, das 
Lehrmiidchen 


Apprenticeship 


l'apprentissage 


il tirocinio 


el aprendizaje 


die Lehrzeit 


Apron 


le tablier 


il grembiale 


el delantal 


die Schurze 


Arabesque 


l'arabesque 


l'arabesco 


lo arabesco 


die Arabeske 


Arrangement, dis- 


l'arrangement, 


l'ordine 


la disposition 


die Anordnung 


position 


l'agencement, 
l'ordonnance 








Artist 


1'artiste 


l'artista 


el artista 


der Kiinstler 


Asbestos, amian- 


l'amiante 


9 


el asbestos 


der Asbest 


thus, amianth 










Assemblage 


l'assemblage, le 


il redunamento, la 


el conjunto 


das Zusammenset- 




point de raccroe, 


commessura 




zen 




le rucroc 








attach, to : see Tie, 

to 
Auction, sale : see 










la vente, l'enchere 


la vendita 


la subasta publica, 


die Versteigerung, 


Fair 






la almoncda 


die Auction, die 
Gant 


Authority : 


l'autorite 


l'autorita 


la autoridad 


dii Autoritat 


see Connoisseur : 










see Expert 











ENGLISH 



Backed (cloth or 
linen) (adj.) 

Background : see 
Ground 

Back-stitch 

Backwards, the 
wrong way, 
against the grain 



Ball, clew : see 
Bottom 

Band : see Stripe : 
see Roii> 

Band (for cap) 

Bangle : see Yarn- 
holder 

Bar, rod : see 
Pearl-tie : see 
Stripe 

Barker, decoy 



Baste, to, tack, to 
Bath - mantle, bath 
set 



Bead 

Bead edge, beading, 
narrow edge fin- 
ish : see Edging 

Beading, seaming, 
spacing : see In- 
sertion 

Beautiful (adj.) : 
see Pretty 

Bedspread, count- 
erpane, quilt 



Bee 

Beginner : see Ama- 
teur 
Belgian (adj.) 
Bertha, fall 



Bib 

Binding off : see 

Casting off 
Black (adj.) 
Blade 

Blind pin : see Fal- 
se stitch 



EXPLANATIONS AND NOMENCLATURE 
FRENCH ITALIAN SPANISH 



39 



monte -e 

le point arriere 
a rebours 



le sac 

la boule, la pelote, 

le peloton 
la bande 



la passe 



la barre 



le raccoleur 



le trou-trou, l'entre- 
lac, l'entrelas 

beau, bel-le 

le couvre-lit, la 
courte-pointe, le 
couvre-pied, la 
couverture, la 
couverte de para- 
de 

l'avette, l'abeille, 1' 
apette 



beige 

la berthe, le godet 



Bias, on the bias en biais 



la bavette, le ba- 
voir 



noir 
la lame 



ITALIAN SPANISH GERMAN 

B 

montato apoyado, sostenido verstarkt 



il punto in dietro 
in dietro 

il sacco 

il gomitolo, la go- 

mita 
la striscia, la lista, 

la benda 
l'ala 



el punto-atras, el 

pespunto 
contra pelo, al re- 

ves 

el saquito, la bolsa 

de mano 
el ovillo 

la venda 

el ala, la banda 



faufiler, batir 

l'£quipage de bain 
(descente de 
bain, sac a o- 
deurs, serviettes, 
peignoirs, garni- 
tures de bain 
avec volant) 

la perle la perla 

la dentelle gtroite il orlo 



imbastire 
l'equipage di bagno 



el reclamo 



hilvanar 

el equipo de bafio 



la passa nastri 

bello 

il coltre, la coperta 



il circolo di cucire 



el borde, la pestana 



bello, hermoso 

la colcha, la sobre- 
cama, el cobertor 



la colmena 



belgica bglgico 

la ciotola, il sco- la berta 

dellino 

sbieco, sghembo al sesgo 



il bavaglio 



el babero 



nero negro 

la lastra, la lama, la hoja 
la laminetta 



der Steppstich 
riickwarts 



der Beutel, der 

Sack 
der Knauel, der 

Ball 
das Band 

das Haubenband 



la barra, la stanga la barra, la varilla der Stift 



der Marktschreier, 
der Werber, der 
Schreier 
reihen, bastan 

der Bade-mantel 



el abalorio die Perle 

el encaje estrecho ? 



der Kettenzug, der 
Einsatz 

schon 

die Bettdecke 



das Nahkr'anzchen 



belgisch 

der Spitzenkragen 

die schiefe Rich- 
tung, in schiefer 
Richtung, schrag 

das Latzchen 



schwarz 
die Klinge 



40 



A LACE GUIDE FOE MAKERS AND COLLECTORS 



ENGLISH 


FRENCH 


ITALIAN 


SPANISH 


GERMAN 


Blonde, flaxen, silk- 


la blonde, la biset- 


il merletto di seta 


el encaje o la blon- 


die Blonden 


en : see Silk : see 


te 




da, hecho de se- 




Cream colored : 






da 




see Ecru 










Blue (adj.) 


bleu -e 


turchino, azzurro, 
cilestro 


azul 


blau 


Blunt, obtuge 


gmousse, gpointe, 


ottuso, grossolano 


embotado 


stumpf 


(adj.) 


contondant 




s 




Blunt (needle) 


? 


l'ago contundente 


la aguja embotada 


1 


(sub.) 










Bob : see Crown 










Bobbin, stick 


le fuseau 


i fuselli, i piombini, 
i piombi, il maz- 
zette 


los palillos 


der Kloppel, der 
Spitzenkloppel 


Bobbin lace, bob- 


la dentelle aux fu- 


la trina a fuselli, 


el encaje hecho con 


die Kloppelspitze, 


bin work, pillow 


seaux, le plat 


il merletto a 


palillos 


die gekloppelte 


lace, bonelace, 




piombini 




Spitze 


pinwork 










Bobbin winder : see 










Winding machine 










Bodkin : see Stil- 


le passe-lacet, l'ai- 


l'argi per passe 


la agujeta 6 aguja 


die Durchzienadel 


etto 


guille a passer 


nastro, l'infila- 
guaine 


de jareta 




Bone (fish) (ani- 


l'arete, 1'os 


l'osso, la spina 


la raspa 6 espina, 


die Grate, der Kno- 


mal) 






el hueso 


chen 


Bonnet : see Hood 


le bonnet, la calot- 
te, la cornette 


la berretta 


la gorra, el gorro 


die Haube 


Book 


le livre 


il libro 


el libro 


das Buch 


Boot-tops, knee- 


les canons, les bas? 


la sorta d'ornamen- 


parte alta de las 


das Spitzenbesatz 


scarfs 


de bottes 


to a merletti che 
si metteva ai 
gambali delle 
brache sotto Lui- 
gi XIV 


botas 


am Knie, das 
Schenkelstrumpf, 
das Hosenbein 


Borax 


le borax 


il borace 


el borax 


der Bor 


Border : see Edg- 






fell )i II IS [! . 




ing 










Bottom, foot 


le bas 


il fondo 


el fondo 


das Ende 


Bottom (of thread) 


le peloton 


la pelot, la gomita 


el globo, la pelota 


der Knauel 


see Ball 










Boudoir cap 


la cornette 


la cufSa da notte 


la gorra 6 el gorro 
de gabinete 


die Morgen-haube 


Bout (knitting), 


le tour 


la turna 


la vuelta 


1 


round 










Bracelet : see Yarn- 










liolder 










Braid : see Plait : 










see Tape 










Bran : see Excel- 


le son 


la crusca, la simola 


el salvado 


die Kleie 


Branch, flower 


le ramage, le rin- 
ceau 


il ramo 


la rama, el ramo 


der Zweig 


Brass, latten 


le cuivre jaune, l'ai- 


il rame, il bronzo 


la calamina, el la- 


das Messing, das 




rain, le laiton 




ton 


Erz 


Bridal (adj.) 


nuptial 


nuziale 


nupcial 


hochzeitlich 


Bride : see Pearl- 










tie 










Bristol-board, pas- 


le carton fin 


il cartone 


la cartulina 


die Pappe 


teboard, press- 










board, cartridge 










paper 










Bronze 


le bronze 


il bronze 


el bronce 


die Bronze, die 
Glockenspeise 


Brush 


le pinceau 


•> 


el cepello 


der Pinsel 


Bud 


le bouton 


il bottone, il ger- 
moglio 


el boton, el capullo 


die Knospe, der 
Keim 


Bullion 


la cannetille, la fri- 


la canutiglia, il or- 


el canutillo 


der gakrauselte 




sure, la bisette, 


pello 




Goldfaden, das 




le clinquant 






Rauschgold 



EXPLANATIONS AND NOMENCLATURE 



41 



ENGLISH 


FRENCH 


ITALIAN 


SPANISH 


GERMAN 


Burl, to 


gbouler, rabattre, 
corriger les infi- 
galitfis 


appianare, spianare 


desnudar 


noppen 


Burler 


l'fibouleuse 


1 


el que quita los nu- 
dos en el paflo 


die Nopperin 


Burling, flattening 


l'6boulage, l'affais- 
sement 


•> 


la desmotaci6n 


das Noppin 


Burnisher : see Puff 










iron. 










Butterfly 


le papillon 


la parafalla 


la mariposa 


der Schmetterling 


Buttonhole, to 


faire le point noue, 
de boutonniere, 
de feston 


fare la festone 


ojalar, hacer ojales 


m i t Knopfloch- 
Stich ausbogen 


Buttonhole stitch, 


le point de bouton- 


l'occiello, il punto 


el punto de ojal 


der Knopflochstich 


close stitch 


niere, le point de 
feston, le point 
nouS 


a feston, il punto 
serrato, il pun- 
to a festone 






Buttonholing (rais- 


la brode 


9 


el bordeado o el ri- 


Art Alengonner 


ed,) outlining: 






beteado con pun- 


Spitze 


see Gimp : see 






to de ojales 




Outlining thread, 










see Finishing 










Buy, to, purchase, 

to 
Buyer 


acheter 


comprare 


comprar 


kaufen 


l'acheteur, l'ache- 


il compratore 


el comprador 


die Kauferin, der 




teuse 


il gabinetto 




Einkaufer 


Cabinet 


le cabinet 


el gabinete 


das Sammlungsca- 










binet 


Cable 


le cable, le grelin 


la gomena, il gher- 
lino 


el cable, el cordfin 


die Schnur 


Candle-board, pole- 


le gu^ridon 


il candelabro 


el portavela 


der Leuchterstuhl, 


board, candle- 








das Leuchterges- 


block 








tell 


Canopy, tester, ceil- 


le baldaquin 


il baldacchino del 


el cielo de cama 


der Baldachin, der 


ing 




letto, il baldac- 
chino 




Betthimmel 


Canvas, scrim 


le canevas 


il canavaccio, il ca- 


la lona, el canama- 


die Stickgaze, die 






novaccio 


zo 


Gitterleinwand, 
der Kanevas 


Cape 


la pelerine, le man- 


il mante, la pelle- 


la manteleta 


der Rad-mantel, 




teau 


grina 




der Kragen 


Cap-string 


la bride 


la legaccie, la nas- 
tria d'una cuffia, 
d'un cappellino 


la cinta 


das Bindeband 


Carbon, autogra- 


le papier autogra- 


la carta azzurro 


el calco, la copia 


das Kopierpapier, 


phic, transfer pa- 


phique, le papier 




hecha en papel 


das Kohlenpa- 


per, colored trac- 


bleu de caique, le 




transparente 


pier, das Lom- 


ing paper : see 


papier lombard 






bardpapier 


Tracing cloth 










Care cloth 


•> 


? nuziale 


? 


eine Deeke, die der 



Carnation 
Cartoon 



l'oeillet, l'oeillet- il garofano 

girofl£e 
le carton il cartone 



Case : see Needle- l'gtui 

case: see Sheath 
Cassock, cloak la cotte, la casaque 

( worn over a 

cuirasse) 
Casting off, binding la chaine de mailles 

off, chain of 

stitches 



1'astuccio, la busta, 

la custodia 
la casacca 



el clavel 

el cart6n 

el estuche 

la cota de armas 



el ribete de costura, 
la c a d e n a de 
mallas 



Braut wiihrend 
der Trauung 
iiber der Kopf 
gehalten wurde 
die Nelke 

d i s Muster - Vor- 

zeichnung 
das Etui 

der Waffenrock 



das Abnehmen 



42 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



ENGLISH 


FRENCH 


ITALIAN 


SPANISH 


GERMAN 


Casting on 


le montage, monter 
la chaine, ourdir 


rimontare 


tramar 


anzetteln 


Caul : see Filet 










Celebration, jubi- 


la c616bration 


la festa 


la celebracton 


die Feier 


lee : see Fair 










Celluloid 


le celluloid, le cel- 
luloi'de 


il celluloide 


el celuloide 
• 


das Celluloid 


Centre, middle 


el centre, le milieu 


il centro 


el centro 


der Mittelpunkt 


Centrepiece 


le centre de table 


il centro di tavola 


el centro de mesa 


das Mittelstiick 


Century : see Peri- 
od 


le siecle 


il secolo 


la centuria, el siglo 


das Jahrhundert 


Chain stitch 


le point de chafn- 
ette, la maille en 
l'air, la maille 
chainette 


il punto a catenella 


el punto de cadena 


der Kettenstich 


Chalice cover, 


la pale, la palle, la 


la patena 


la cubierta de 


der Kelchdeckel 


paten cover : see 


voile de bene- 




plato, la cubierta 




Pall 


diction 




de caliz 




Chasuble 


la chasuble 


la pianeta 


la casulla 


das Messgewand - 


Cheap (adj.) 


bon marche 


buon' mercato 


barato 


wohlfeil, billig 


Chemical, chymical 


chimique 


chimico 


quimico 


chymisch 


(adj.) 










Chemise, shift 


la chemise 


la camicia, il ca- 
misciole 


la camisa de mujer 


das Hemd 


Chenille 


la chenille 


la ciniglia 


la felpilla 


die Chenille 


Chest, linen chest 


le coffre, le coffret 


la cassa, la forziere 


el area 


die Truhe, die Lade 


Chinese (adj.) 


chinois -e 


Chinese 


chinesco 


chinesisch 


Christening, bap- 


les robes de bap- 


la gonneletta di 


el vestido bautis- 


die Taufkleidung 


tismal clothes, 


teme 


battesimo, la ves- 


mal 




bearing cloths 




ta di battesimo 






Chronogram 


le chronogramme 


la cronogramma 


el cronSgrama 


das Chronogram, 
die Zahlbuchsta- 
beninschrift 


Chronological, 


chronologique 


cronologico 


cronolOgico 


chronologisch 


chronologic 










(adj.) 










Church 


Peglise 


la chiesa 


la iglesia 


die Kirche 


Circular (adj.) 


circulaire 


circolare 


circular 


kreisrund, kreisfor- 


Clamp, vise, hem- 


le crampon, la 


il rampone 


el tornillo 


mig 
die Schraubzwinge, 


ming-bird, clip : 


clampe, le pince- 






der Papierhalter, 


see Weight : see 


notes 






die Klammer, 


Screw 






' 


der Schraubstock 


Class 


la classe 


la classe 


la elase 


die Classe 


Cleaning, cleansing 


le nettoyage, le 
nettoiement 


il nettamento 


la limpiadura 


das Reinigen 


Clew : see Ball : see 










Bottom 










Close, to, cover, to, 


fermer 


fermare, chiudere, 


cubrir 


nadelschliessen 


shut, to, repeat, 




serrare 






to : see Closing 










stitch 










Closing stitch : see 


le point final, le 


il punto di ferma 


el punto de remate 


der Schlusschlag 


Close, to 


dernier point 








Cloth stitch, linen 


le point de toile, le 


la punta tela 


el punto de tela 


der Leinenschlag 


stitch, clothing 


point matte, le 








work 


mat, le toils 








Coarse (adj.) 


gros -se, grossier -e 


grosso, grossolano 


grosero, basto 


grob, rauh 


Coffee 


le cafS 


il caffe 


el cafe 


der Kaffee 


Coffin 


le cercueil 


la bara, il cataletto 


el atafld 


der Sarg 


Cogwheel, notched 


la roue dentee, la 
roue a crans, le 
tournant 


'i 


la rueda dentada 


das Zahnrad 


Coif, cap 


la calotte, la coiffe 


la souffia, il cap- 
pellino, il berret- 
tino, la scazzetta 


la cofia 


die Haube 


Cold (adj.) 


froid -e 


freddo 


frio 


kalt 



EXPLANATIONS AND NOMENCLATURE 



43 



ENGLISH 

C ol 1 a r , wimple, 
gorget, whisk : 
see Falling col- 
lar : see Standing 
collar: see Yoke 

Collecting (stitch) 

Collection : see Mu- 
seum 

Colored, coloured 
(adj.) : see Dye- 
stuff 

Combing cloth : see 
Razor-cloth 

Companion piece : 
see Mate 

Company, corpora- 
tion 

Compass 

Connoisseur : see 
Expert : see Au- 
thority 

Contraband 



Contrast 
Convent, nunnery 

Conventionalized 

Cope (choir) 

Copper 

Coptic (adj.) 

Copy 

Copy, to 

Cord (fancy) , 
draw - string, 
band, string : see 
Gimp 

Cork : see Excel- 
sior 

Corner 

Cotta 

Cottage (work) 

Cotton, gossypium 
Couch, to, tack, to 

catch down, to : 

see Baste, to : 

see Outlining 

thread 
Couple, to : see 

Join, to : see Tie 

together, to 
Court 
Covering cloth : see 

Sheath 
Cravat, Steinkirk : 

see Frill : see 

Jabot 
Cream (colored) : 

see Blonde: see 

Ecru : see Isabel 
Crease, pucker 



FRENCH 



ITALIAN 



le col, le collet, le il collare 
collier 



la collection 
colons' 

le peignoir 



la compagnie, la 

corporation 
le compas 
le connaisseur, la 

connaisseuse 

la contrebande 



le contraste 
le couvent 

rendu -e, conven- 
tional -le 
la chape 

le cuivre 

cophte, copte, coph- 
tique. coptique 

la copie 

copier 

la ganse, la corde, 
le lacet 



le liege 

le coin 
le rochet 

a domicile 

le coton 
coucher, batir 



la collezione 
die colore 



il accappatoio, il 
mantellino 



la compagnia 

il compasso 
il conoscitore, il es- 
perto, il istrutto 

il proibito 



il contrasto 
il convento 



la pianeta, la 
cappa, il piviale 

il rame, il calde- 
rone 

coptico, cofto 

la copia 
copiare 

la corda, la stringa, 
il lacciuolo 



la sughera 

il cantone, l'angolo 
il rochetto 

a domicilio, in casa 

sua 
il cotone 
posare, collocare, 

coricare 



accoupler, coupler accoppiare 



la cour 
la housse 



la corte 
la coperta 



la cravate 

couleur cafe au lait beige, crema 



la cravatta, il faz- 
zoletto 



SPANISH 
el cuello 



el punto de reco- 

gida 
la coleccion 



GERMAN 

der Kragen 



le pli, le godet, le la piega, la cattiva 
faux-pli 



Colorado 



el peinador 



la compania 

el compas 
el perito, el cono- 
cedor 

el contrabando 



el contraste 
el convento 

hecho convencional 

la capa pluvial 

el cobre 

coptico 

la copia 
copiar 

el cordon, la pre- 
silla 

el corcho 

el angulo 

la cota, el sobre- 
pelliz 

trabajo hecho a do- 
micilio 

el algodon 

ribetear 



parear, juntar 



la corte 

la cobertura, la 

funda 
la corbata 



el pliegue, la plega- 
dura 



die Sammlung 
farbig 

der Puder-mantel 

die Gesellschaft 

der Kirkle 
der Kenner 



die verbotenen 
W a a r e n , die 
Schmuggehvaare 

der Contrast 

der Convent, das 
Kloster 

stilisirt 

der Chorrock 

das Kupfer 

Koptisch 

die Copie 

copiren, abzeichnen 
die Schnur, das 
Schniirchen 



der Kork 

die Ecke 

das kurze Chor- 

hemd 
das man n a c h 

Hause nimmt 
die Baumwolle 
aufniilien, flach 

niihen 



zusammenkuppeln 



der Hof 
die Decke 

die Halsbinde, die 
Kravatte 

die Rahmfarbe 



die Falte 



44 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



ENGLISH 

Crescent 
Crochet, to 

Onchet-hook, 
Shepherd's Hook 

Crochet - knitting, 
Tunisian knit- 
ting, Victorian 
knitting 

Crochet thimble : 
see Thimble for 
crochet work 

Cross, to 

Cross-section paper, 
point paper 

Cross-stitch 



Crown 

Crown (of a bon- 
net), bob 

Crowns, pin work, 
spines, thorns : 
see Rosettes 

Cuff, wristband : 
see Ruffle 



Curtain : see Win- 
dow shade 
Curve 

Cushion (sofa) : see 

Pillow 
Cut, to 

Cutwork 

Cutworks, lead- 
works, lerd 
works : see Tuft 

Cylinder 



ITALIAN 

la luna crescente 
ricamare a unci- 

netto 
l'uncinetto 



FRENCH 

le croissant 
crocheter 

le guipoir, le cro- 
chet 

le crochet-tricot, le 
crochet tunisien 



croiser mcrociare 

le papier quadrille ? 

le point croise\ le il punto croceato, 
gros point il punto lungo, il 

punto croce 

la couronne la corona 

le fond de bonnet la forma 



les couronnes 



la manchette, le 
parament, le 
parement (turn- 
over) 

le rideau 

la ligne courbe 

le coussin, le car- 

reau 
couper 



1 ornamenti 



il manichetto 



la cortina, il cor- 

tinaggio 
la linea curva 



SPANISH 

el creciente 
hacer crochet 



GERMAN 

der halbe Mond 
hiikeln 



la aguja de gancho die Hiikelnadel 



el crochet de Tflnez 



der tunische 
Hakelstich 



cruzar kreuzen 

el papel con lineas das rechnen Papier 

cruzadas 

el punto cruzado der Kreuzstich 



la corona 
la coronilla 

el ornamento 



el puno, la boca- 
manga 

la cortina 
la curva 



il cuscino, il guan- el cojin, el almo- 

ciale had6n 

tagliare cortar 



le point coupe 1 il punto tagliato la obra de bordado 

les points d'esprits le punta armeletta ? 



le cylindre, le rou- 
leau, la b o u 1 e 
tournante 



il cilindro 



el cilindro 



die Krone 
der Boden 

das Kronenwerk 



die Manchette, die 
Handkrause 



der Vorhang, die 

Gardine 
die Kriimme Linie, 

die Kriimmung 
das Kissen 

schneiden, 

abschneiden 
die durchbrochene 

Arbeit 
die Karos im For- 

menschlag, der 

getupfte Tiill 
der Zylinder 



D 



Dalmatic 


la dalmatique 


la tonicelle, la 
matica 


dal- 


la dalmatiea 


die Dalmatika 


Damask 


la toile damassee, 
le damassg, le 
damas 


il damasco 




el damasco de hilo 


der Damast 


Dampen, to, mois- 


humecter 


umettere 




mojar 


befeuchten 


ten, to : see Wet 












Danish (adj.) 


danois -e 


danese 




dinamarques, danfe 


danisch 


Darn, to 


broder en reprise, 
repriser, passe- 
filer 


rammendare, 
supra punto 


filo 


zurcir 


stopfen 


Darner (needle) 


l'aiguille a passer 


l'infila cappio 




la aguja de zurcir 


die Stopfnadel 


Date 


la date 


il giorno 




la data 


das Datum 


Dealer, trader 


le commercant 


il mercante 




el interventor, el 
comerciante 


der Handler 


Decorative 


decoratif -ve 


decorativo 




decorativo 


decorativ, zieren 


Decrease, to, in- 


diminuer, relrecier 


diminuire, scemare 


decrecer, disminuir 


vermindern, abneh 


take, to, dimin- 










men 


ish, to, take in, 












to, narrow, to : 












see Reduce, to 













EXPLANATIONS AND NOMENCLATURE 



45 



ENGLISH 


FRENCH 


ITALIAN 


SPANISH 


GERMAN 


Decree, mandate, 


le decret, l'gdict 


il mandate 


el mandate, el de- 


das Decret, das Ge- 


ordinance, edict 






creto, el edicto 


setz, die Verord- 
nung 


Denim, denham 


9 


? 


la tela basta y re- 
sistente de al- 
godon 


eine Art g r o b e s 
Baumwollenzeug 


Design : see Sub- 


le dessin 


il disegno 


el dibujo, el trazo, 


die Zeichnung 


ject 






el diseiio 




Designer 


le dessinateur, la 
dessinatrice 


il disegnatore 


el dibujante, el di- 
senador 


der Zeichner 


Devil's Broth : see 










Starch, to 










Dexterity: see 










Skill : see Exe- 










cution 










Diagonal : see 


diagonal -e, oblique 


diagonale 


diagonal 


schrag 


Oblique : see 










Slanting 










Diagram : see 


le plan, !a figure 


il piano, la pianta 


el diagrama 


das Diagram, der 


Draft 








Abriss 


Diamond : see Lo- 










zenge 










Diamond shaped 


en earreau, en lo- 
sange 


a rombo, romboide 


de figura romboide 


rautenformig, 
rhombus 


Dicky-pot 


V 


■> 


•> 


9 


Difficult 


difficile 


difficile 


diffcil, dificultoso 


schwer, schwierig 


Dilettante : see 










Amateur 










Dimension : see 










Size 










Dip, to, soak, to 


plonger, tremper 


bagnare, tuffare, 
immergere 


sumergir, baflar 


eintauchen, e i n - 
weichen, tunken 


Discoloration 


la decoloration 


il scoloramento 


el descoloramiento 


das Verschiessen, 
die Verfiirbung 


Disengaging, de- 


le degagement 


lo scioglimento dis- 


la desatadura, la 


die Ablosung, die 


taching, loosen- 




tacco 


separacion 


Trennung 


ing, releasing 










Disentangle, to, 


demeler 


strigare 


desenredar, desen- 


entwirren 


untangle, to : see 






lazar 




Undo, to 










Doilie, d'Oyley 


le sous-bol, le des- 


la tovagliuola, 


la servilleta pe- 


das Deckchen 




sous de vase, la 


mautilette 


quena 






petite nappe, le 










napperon, la ser- 










viette de dessert 








Dollar 


l'ecu 


'? dollare, l'ecu 


moneda de los Es- 
tados Unidos y 
el Canada, el es- 
cudo 


der Thaler 


Dot, tear - drop, 


le pois, la larme, le 


la gocciola, il punto 


la gotita 


der Tupfen, der 


polka dot : see 


point 


lagrima, il pisello 




Punkt 


Drop, to 










Double (adj.) : see 


double 


doppio 


doble, doblado 


verdoppelt, zwei- 


Turn, to 








fach 


Double faced : see 


a double face 


doppio faccia, due 


de doble cara, de 


mit zwei Seiten 


Reversible 




visi 


dos caras 




Dozen 


la douzaine 


la dozzina 


la docena 


das Dutzend 


Draft, plan : see 


le brouillon, l'es- 


il disegno, la copia 


el diseiio, el plan 


der Entwurf 


Diagram : see 


quisse, l'ebauche, 








Laying out 


le plan 








Drawing pin : see 










Thumb tack 










Drawn-work 


le point tire\ a fils 
tires 


il punto tirato, la 
sfilatura, il des- 
filato 


los calados 


die Auszieharbeit 


Drawn-worker, 


la tireuse de fil 


il filatoro 


la perfiladora, la 


die Fadenzieherin 


drawn-work 






caladora 




maker 






, 




Draw out, to, pull 


tirer 


tirare 


tirar 


ausziehen 


out, to 











46 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



ENGLISH 


FRENCH 


ITALIAN 


SPANISH 


GERMAN 


Dress 


la robe 


la gonna 


el vestido 


das Kleid 


Dressed pillow 


le coussin prepare 1 , 


il cucino fatto per 


la almohadilla lista 


das Kloppelkissen 




appretfi, dispose^ 


incominciare 


para comenzar 


fertig zur Arbeit 




dressS 








Dressing, stiffen- 


l'appret, l'empois 


l'apprechio 


la cola 


der Leim 


ing, sizing 










Drop, to (a 


lacher, laisser tom- 


Iasciar caseare 


perder (un punto) 


fallen lassen, ab- 


stitch) : see Dot 


ber, laisser cou- 
ler 
sec, seche 




/ 


gleiten 


Dry (adj.) 


secco 


seco 


trocken, durr 


Dutch (adj.) 


hollandais -e 


olandese 


holandfis 


hollandisch 


Duty, tax 


le droit, l'impot 


il dazio, la gabella 


el derecho, el im- 
puesto 


die Taxe, der Zoll 


Dyeing, coloring 


la teinture 


la tinta, la tintura 


la tintoreria 


das Farben 


Dyestuff : see Col- 


la teinture, le 


la tintura 


el tinte 


der Farbstoff 


ored : see Ani- 


teint, le coloris 








line 




l'aquila 






Eagle 


1'aigle 


el aguila 


der Adler 


Easy (adj.) 


facile 


facile 


facil 


einfach, leicht 


Ecclesiastical, ec- 


ecclesiastique, 


ecclesiastico 


eclesiastico 


ecclesiastisch 


clesiastic, sacer- 


sacerdotale 








dotal (adj.) 










Ecru, unbleached 


ecru -e 


crudo -a 


crudo, que no ha 


ecru 


(adj.) : see 






sido lavado 




Blonde : see 










Cream 










Edging, border : see 


la dentelle, le bord, 


il pizzo, il orlo 


la orla, el ribete 


das Bortchen, die 


Selvage : see 


le passement 






Randspitze, die 


Bead Edge 








schmale Spitze 


Effigy 


l'effigie, l'image 


l'effigie, l'immagine 


la efigie 


das Bildniss 


Eighteenth (adj.) 


dix-huitieme 


diciottesimo, deci- 
mottavo 


decimo octavo 


achtzehnt 


Ell (45 inches, 1% 


l'aune, l'avant-bras, 


l'anna, la canna 


la ana 


die Elle 


yards) 


1.85 metres (74 
inches) 








Ellipse 


l'ellipse 


1'ellissi 


el elipse 


die Ellipse 


Embroiderer, em- 


la brodeuse 


•) 


la bordadora, la 


•p 


bellisher, em- 






ricamadora 




broidery worker 










Embroidery 


ia broderie 


il ricamo, la rica- 
matura 


el bordado, la bor- 
dadura 


die Stickerei 


Emery, corundum 


l'emeri 


il smeriglio 


el esmeril 


der Schmergel 


End, extremity 


le bout, l'extremite' 


la fine estremita 


el cabo, el fin 


das Ende 


English (adj.) 


anglais -e 


inglese 


ingles 


englisch 


Enlarge, to : see 


agrandir 


aggrandire 


agrandar 


erweitern, vergros- 


Increase, to 








sern 


Enrich, to, adorn, 


enrichir, orner, em- 


fatte richo 


enriquecer, ador- 


ausschmiicken, be- 


to, embellish, to : 


bellir, parer 




nar, embellecer 


reichern 


see Light up, to 










Entertainer : see 










Reader 










Epoch : see Period 










Establish, to, 


gtablir, fonder, in- 


stabilire 


establecer, fundar 


etabliren, griinden 


found, to 


stituer 








Excelsior, s t u f - 


le papier a copeaux 


l'ecelsore 


la madera en he- 


die Holzwolle 


fing : see Bran : 


d'emballage, la 




bras y virutas 




see Sawdust : see 


tontisse ligneuse 




delgados para 




Cork 






empaquetar y 
rellenar col- 
chones 




Execution, work- 


la fagon, l'execu- 


la fettura, l'esecu- 


el trabajo 


die Ausfiihrung, 


manship : see 


tion, le travail 


zione, il lavoro, 




die Arbeit 


Skill 




la fattura 






Expensive, dear, 


cher, couteux 


dispendioso, cara- 


costoso, caro 


teuer, kostspielig 


costly (adj.) : 




mente, a gran 






see Valuable : see 




prezzo 






Rare 











EXPLANATIONS AND NOMENCLATURE 



47 



ENGLISH 



FRENCH 



Expert : see Cons- F expert 
noisseur : see Au- 
thority 

Eye (of a needle) le chas, le trou 



Eyelet 



l'oeillet 



ITALIAN 



la cruna 
il spiraglio 



SPANISH 



l'esperto, il sperto, el experto 
il sperimentato 



el ojo 
el ojete 



GERMAN 

der sach Verstiind- 



das Nadeliihr, das 

dhr 
das kleine Loch, 

das Scbniirloch 



Factory : see 
Work-room 

Fair : see Auction : 
see Celebration : 
see Festival 

Falling collar, fall- 
ing band, fall : 
see Collar 

False stitch, false 
pinhole, blind 
pin: see Omit: 
see Repeat 

Fan 

Fancy, fanciful, 
ornate (adj.) 

Fancy work 



Fan-shaped 
(adj.) 
Scallop 

Fascinator, 



wrap : see Man- 
tilla 

Fasten off, to, 
make fast, to, 
secure, to : see 
Tie together, to 

Felt, baize 

Festival, jubilee : 
see Fair 



Fichu : see Ker- 
chief 

Fifteenth (adj.) 
Filet, netting, caul 
lace 



Filigree 

Filler in of point 



Filling, plaiting 

band work 
Filling maker : sei 

Maker 
Fine (adj.) 
Fine drawing 

Finger 

Finger (4% in 
ches) 



la fabrique 
la foire 



le col rabattu. le 
rabato, le rabat 



la fabbrica 

la fiera, il mercato 
pubblieo 

il collare 

il punto false 



l'eventail il ventaglio 

faconne -e, orne -e, di fantasia, affaz- 



de fantaisie 

la tapisserie, 

broderie 
en eventail 



la 



head- la fanchon 



le feutre 

la fete, le jubile 



quinzierne 

le filet, le lacis, le 

point conte, la 

resille 



le filigrane 
la remplisseuse 



le mode, l'ajour, le 
jour 

fin -e 

la reprise perdue 

le doigt 

le doigt (18 milli- 
metres) 



zononato, ador- 
nato 
il ricamo 

a ventaglio 
la ciarpa 
arrestare, fermare 



il feltro 
la festa 



quindicesimo 

il lavoro di maglia, 
il punto a maglia 
quadra, il moda- 
no, il punto a 
maglia quadrata 

la filigrana 

la rimendatrice 



al gioi'no 



fino, delicato 
•> 

il dito 
il dito 



la f a b r i c a , la 

manufactura 
la feria 



el cuello caido 
el paso falso 



el abanico 

de c a p r i c h o, de 

gusto fantastico 

la obra de fantasia 

en forma de aba- 
nico 

el panuelo de ca- 
beza 

atar, asegurar 



das Fabrikgebiiude 

die M e s s e der 
Jahrmarkt 

der Umlegekragen 



der Fiicher 
geschmtickt, ver- 
ziert 

die weibliche 

Handarbeit 
facherformig 



das Kopftuch 
festmachen 



el fieltro 




der Filz 


la fiesta 




das Jubileum, der 
Festtag, das Ju- 
beljahr, das Ju- 
belfest 


decimoquinto 




fiinfzehnte 


la red cuadrada 




die Netz Arbeit, 
das Filet, der 
Gitterground, das 
Netzwerk, das 
Filett 


la filigrana 




die feine Drahtar- 
beit 


la insertadora 


de 


die Spitzenflicker- 


puntos 




inn, die Spitzen- 
stecherinn, d i e 
Spitzenausfiiller- 
inn 


el modo 




die Fiille," der Ein- 
trag, die Fiillung 


fino, delicado 




fein 


el punto perdido de 


? 


zurcido 






el dedo 




der Finger 


la longitud del 


de- 


der Mass von 4% 


do, del medio 




Zoll 



48 



A LACE GUIDE FOE MAKERS AND COLLECTORS 



ENGLISH 


FRENCH 


ITALIAN 


SPANISH 


GERMAN 


Finger-shield, tai- 


le de ouvert, le 


il ditale aperto 


el apoyadedos, el 


der Schneider-Fin- 


lor's thimble 


doigtier 




dedal de sastre 


gerhut 


Finisher, refiner : 


l'affineuse 


la ricamatrice, 1' 


la perfeccionadora, 


die Vollenderin 


see Repairer : see 




amnatrice 


la afinadora 




Ironer 










Finishing : see But- 


l'achevement 


la ripassatura 


la ultima mano, el 


? 


tonholing : see 






perfeccionamien- 




Mending of faults 






to , 




Firmly, steadily 


fermement 


fermamente 


firmemente 


fest 


Fish-shaped (adj.) 


pisciform 


■> 


pisciforme 


fischformig 


Flange 


le rebord, la saillie 


la sponda, il risal- 
to, l'orlo 


el realce 


die Flansche, der 
Rand 


Flat (adj.) : see 


plat -e 


piano, piatto, spian- 


llano, piano 


flach, ohne Relief 


Smooth 




to 






Flax, linum usita- 


le lin, l'afioume 


lino, sorta di lino 


el lino 


der Flachs 


tissimum, fine 




dell'Egitto 






Levantine flax 










Flax comb : see 










Heckler 










Flaxen : see Blonde 








^ 


Flemish (adj.) 


flamand -e 


fiammingo 


flamenco 


flamish 


Floss-silk, sleine, 


la soie plate, la flo- 


la seta crudo, la 


la seda floja 


der Floss 


sleided silk 


che 


zattera 






Flounce, furbelow, 


le volant, le godet, 


il volante, la falba- 


la falbala 


die Falbel, das Ge- 


robing : see Frill 


la tournante 


la, la balza 




brame 


Flower 


la fleur 


il fiore 


la flor 


die Blume 


Flute, to, gauffer, 


tuyauter, gaufrer, 


piegare, saldare a 


rizar, plegar 


goffrieren 


to, crimp, to 


froncer, goudron- 
ner, goderonner, 
gaudronner, cre- 
per 


connoneinli 






Fluting, goffering, 


le tuyautage, le 


l'impressione sulle 


el rizado 


das Goffrieren, die 


quilling: see 


gaufrage, d e s 


stoffe 




Riische 


Quille 


Turgaux 








Fold, set: see Plait 


le pli, la pince 


la piega 


la doblez, el pliegue, 
la plegadura 


die Falte 


Foliated (adj.) : 


en feuilles, feuille' 


a fogliami 


batido en hojas 


mit Laubwerk 


see Scroll 


-e, a feuillages 








Footing, bead edge, 


l'engrelure, le pied, 


il merletto ordina- 


el ribete 


der Kantensaum 


heading, bead- 


le bord, la bisette 


rio 






ing : see Selvage 






■"i? 




Forked (adj.) 


fourchu -e, en four- 

che 
la forme 


biforcato, forcuto 


horcado 


gabelformig 


Form, shape, con- 


la forma 


la forma, la figura, 


die Form 


tour 






el contorno 




Foundation 


la fondation 


il fondamento 


el fundamento, la 
fundaciOn 


der Grund 


Fourteenth (adj.) 


quatorzieme 


quattordicesimo -a 


decimocuarto 


vierzehnte 


Frame (embroid- 


le mgtier ft broder 


il telaio da ricamo 


el bastidor 


der Stickrahmen, 


ery) : see Hoop 








der Nahrahmen, 
das Tamburin 


Fray, to: see Ra- 










vel, to 










French (adj.) 


frangais -e 


francese 


francesa 


franzosisch 


Fresh, clean 


frais, fraiche, pro- 


fresco 


fresco, nuevo 


frisch, rein 


(adj.) : see New 


pre 








Fretwork : see 










Grille 










Frill, cascade, ja- 


le jabot 


la gola, la digiuna 


la chorrera 


der gefaltete Bu- 


bot : see Floun- 








senstreif 


ce : see Cravat 










Fringe 


la frange, 1'efnle' 


la frangia 


el fleco 


die Franse 


Fuller's earth, 


la terre ft foulon, le 


la terra da digras- 


la tierra de batan 


die Walkererde, die 


Whiting 


bianco d'Espagne 


sare o da purgare 




Tiinche 



EXPLANATIONS AND NOMENCLATURE 



49 



ENGLISH 



Galloon, Orris, Ar- 
ras 

Gather, to, pucker, 
to 

Gauge : see Mesh- 
stick 

Gently 

Geometric (adj.) 
German (adj.) 

Gimp, rib, trolly, 
cordon : see But- 
tonholing : see 
Outlining thread : 
see Raised 

Gingles, jingles, 
beads 

Glazed, shiny, glos- 
sy, lustrous 
(adj.): see 
Smooth 

Glove 

Gold 

Gothic (adj.) 

Grille, fretwork,' 
lattice 

Groove 

Ground, grounding, 
field, background : 
see Net 

Grounder, maker of 
grounds, ground- 
worker 

Guimpe (child's) : 

see Wimple 
Guipure 



Gum Arabic 
Gusset, mitre 



Hair, locks, tress- 
es : see Horse- 
hair 

Hairpin ( for cro- 
cheting) 

Half stitch, half 
throw, half pass 

Hand 
Handkerchief 

Handle, holder 

Handmade (adj.) 
Handsome : see 
Rich : see Beauti- 
ful: see Pretty 



FRENCH 

TArras, le galon 

froncer, coulisser 

la jauge, la mesure 

doucement 

geomfitrique 
allemand -e 

le cordonnet, la 
nervure, le fil de 
crin, le guimp, 
la brode, le cor- 
don 

la cliquette, la per- 
le de verre 

glace -e, lustre -e, 
luisant -e, vitre 
-e 

le gant 

l'or 

gothique 

la grille, la grecque, 

la treillis 
la ramure, 1'entaille 

le fond, le champ, 1' 
entoilage, le treil- 
le, le fondement 

la foneuse, la ga- 
zeuse, la gaziere, 
la reseleuse, la 
fondeuse 

la guimpe 

la guipure 



la gomme arabique 
le gousset, la mitre 



les cheveux, les 
tresses 

la fourche 

le demi point, la 
passg de filet, la 
grillee 

la main 

le mouchoir 

le manche, la poig- 

nee, l'anse 
fait a la main 



ITALIAN 

G 

il gallone, il fregio 

increspare, piegare, 

raggunzare 
la misura staza 

leggermente, dolce- 

mente 
geometrico 
tedesco 

il cordoncino 



il peso che si attac- 

ca alle fuselli 
lustrato, lucente 



SPANISH 



el gal6n, el ribeci- 

llo 
fruncir 

la vara 

dulcemente 

geomStrico 
germanico, aleman, 

tudesco 
el cordOn 



el peso que se une 

a los palillos 
lustroso, glaseado 



GERMAN 



die Tresse 

falten, in Falten 

legen 
das Mass 

sanft 

geometrisch 
deutsch 

die Gimpe, der TJm- 
rissfaden, das) 
Bandchen 



die Glasperlen 



glanzend, 
mernd 



schim- 



der Handschuh 

das Gold 

gothisch 

das Gitterwerk 

die Rinne 

der Grund, der 
Spitzengrund 

colui o colei che el que hace los fon- ,jj e Spitzengrund- 

fabbrica veli dos 



il guanto el guante 

l'oro el oro 

gotica g6tico 

la rete, la reticella el calado 

1'antro profondo, la la ranura 

scanatura 

il fondo el fondo 



la guimpa 

il ghipur, il merlet- 
to in rilievo 



la gomma arabica 
quadratelli 

la treccia di capel- 
li, il capello, la 
ciocca di capelli 

la forca, il bidente 

il mezzo punto 



il mano 

il fazzoletto, il moc- 

cichino 
l'impugnatura, il 

manico 
fatto a mano 



el camisolfn de mu- 
jer, el canesu 

la puntilla de hilo 
fuerte en que los 
dibujos enlaza- 
dos forman el ti- 
su sin fondo 

la goma arabica, el 
agua de goma 

el escudete, el ingle- 
te 



los cabellos, la 
trenza 

la horquilla 

la semi puntada 

la mano 
el panuelo 

el mango, el puno 

hecho a mano 



macherin 

das Latzchen 
die Guipure 



das Gummi Arabi- 

cum 
der Zwickel, die In- 

ful, die Mitra 



die Haar-Locke 



die Haarnadel 

der Halbschlag, der 
Gympenschlag, 
der Netzschlag 

die Hand 

das Taschentuch 

der Griff 

mit der Hand ge- 
macht 



50 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



ENGLISH 


FRENCH 


ITALIAN 


SPANISH 




GERMAN 


Hangers: see Pas- 












sive pairs 












Hang up, to 


pendre, suspendre 


sospendere 


colgar 




aufhangen 


Hank 


la botte, la poig- 
nge, la pantine 


la matassa 


la madeja 




der Strang 


Head 


la tete 


la testa, il capo 


la cabeza 




der Kopf, die 

Spitze 


Head-dress, tower, 


la fontange, la 


l'acconciatura di 


el tocado 




der Aufsatz, die 


head, Fladdal, 


commode 


capo 


s 




Bandschleife auf 


fallals 










dem Kopfe 


Heading: see Foot- 












ing 












Head worker, su- 


la maitresse-ou- 


la capo-maestra, il 


la primera oficiala 


die Vorsteherin, die 


pervisor 


vriere, le chef 


capo bottega 


de un taller 


de 


erste Arbeiterin 




d'atelier 




mujeres, la 
cargada 


en- 




Heart 


le coeur 


il cuore 


el corazon 




das Herz 


Heaviness, dull- 


la matitS 


il cattivo 


la pesadez, la 


es- 


die Schwerfalligkeit 


ness : see Showy 






tolidez 






Heckler, flax comb, 


le seran, la seran- 


il pettine da lino 


el rastrillo 




die Hechel 


hatchel 


goie, l'aflinoir 










Hem 


l'ourlet 


l'orlo 


el ribete 




der Saum 


Hemp 


le chanvre 


la canapa, il ca- 
nape 


el cafiamo 




der Hanf 


Heraldic (adj.) 


heraldique 


araldico 


heraldico 




heraldisch 


Hexagonal (adj.) 


hexagonal -e, hexa- 
gone 


esagonale, esagono 


hexagono 




sechseckig 


Holder : see Handle 












Hole 


le trou 


il forame, il buco, 


el agujero, el agu- 


das Loch 






il pertugio, la 


jerito 










bucca 








Honeycomb 


le gateau de miel, 
la rayon de miel 


il faxo, il Bale 


el panal 




die Wachsscheibe, 
die Honigwabe 


Hood : see Bonnet 


le capuchon, la 
capeline 


la bauta, il cap- 
puccio 


la toca 




die Haube 


Hook 


le crochet, le gui- 
poir, le croc, la 
croche 


l'uncine, l'uncinetto 


el gancho 




der Haken, das 
Hakchen, das 
Hakelhaken 


Hoop, tambour : 


le cercle, le tam- 


il tamburo, l'ordi- 


el bastidor, el 


aro 


der Reif, das Tam- 


see Frame 


bour 


grto da ricamare 






burin 


Horizontal (adj.) 


horizontal -e 


orizzontale 


horizontal 




horizontal 


Horn (adj.) 


de corne 


di corno 


de cuerno 




aus Horn, hornen 


Horsehair : see 


le crin 


il crine di cavallo 


la crin de caballo, 


das Rosshaar 


Hair 






la crin 






Hot (adj.) : see 


chaud -e 


caldo 


caliente 




heiss 


Warm 












Housewife, kit 


le necessaire 


la cassetta da viag- 


el costurerito 




das Nahkastchen 


Hunting 


de chasse 


gio 
di caccia 


de caza 




Jagd (spitzen) 


Imbricated : see 












Overlapping 












Imitation 


l'imitation 


l'imitazione 


la imitacidn 




die Nachahmung 


Inch 


le pouce 


il pollice 


la pulgada 




der Zoll 


Increase, to, add, 


augmenter 


aumentar, ampliare 


acrecentar, alargar, 


vermehren, vergros- 


to ; see Enlarge, 
to 
Index finger 






aumentar 




sern 


l'index 


l'indice 


el dedo indice 




der Zeigefinger 


India ink 


l'encre de Chine 


l'inchiostro di 


la t i n t a de 


la 


die Tusche 






China 


China, la tinta 










China 






Indian (adj.) 


indien -ne 


indiano 


indio 




indisch, indianisch 


Initial 


l'initiale 


l'iniziale 


la inicial 




der Anfangsbuch j 
stabe 


Ink 


l'encre 


l'inchiostro 


la tinta 




die Tinte 


Insertion : see 


l'entredeux, la 


la trina, l'inser- 


el entredoa 




der Einsatz 


Beading 


bande 


zione, l'entemel- 
le, il passamano 









EXPLANATIONS AND NOMENCLATURE 



51 



ENGLISH 




FRENCH 


ITALIAN 


SEANISH 


GERMAN 


Instrument : 


see 










Tool 












Insular (adj.) 




insulaire 


isolano 


insular, isleno 


insularisch 


Interlace, to, 


en- 


entrelacer, accoler 


collegare, intrec- 


entrelazar, entre- 


durchflec bten, 


twine, to 






ciare, intralci- 
are, frammettere 


mezclar 


durchweben 


Interline, to 




entredoubler 


1 


entretelar 


zwischenfiitten 


Intersect, to 




entrecouper 


intersecare, attra- 
versare 


entrecortar 


durchschneiden, 
durchkreuzen 


Introduce, to 




in trod aire 


introdurre 


establecer, presen- 
ter 


vorstellen, bekannt 
machen, einfuh- 
ren 


Inventory 




1'inventaire 


l'inventar 


el inventario 


die Inventur, das 
Inventarium, das 
Bestandsver- 
zeichniss 


Irish (adj.) 




irlandais -e 


irlandese 


irlandes 


irisch, irlandisch 


Iron, to 




repasser 


stirare, soppressare 


planchar 


pliitten, biigeln 


Ironer : see Fin 


ish- 


l'amqueuse 


la stiratrice 


la planchadora 


die Platterin, die 


er 










Bugelerin 


Isabel (adj.) : 


see 


isabelle, de couleur 


isabella, sauro 


de color isabelino, 


isabellenfarbig, isa- 


Cream colored : 


isabelle 




amarillo parduz- 


bellfarbig, mis- 


see Ecru 








co 


farbig 


Italian (adj.) 




italien -ne 


italiano 


italiano 


italienisch 


Ivory 




l'ivoire 


l'avorio 


el marfil 


das Elfenbein 






Jabot : see Cravat 


le jabot 


la gola 


la gola 


7 


Japanese (adj.) 


japonais -e 


giapponese 


japongs 


japanisch, japane- 


i|! ill : PI 








sisch 


Join, to : see 


raccorder 


accordare 


enganehar 


zusammenstucken 


Couple, to 










Joiner of lace (per- 


la raccrocheuse 


l'accordatrice 


el enganchador 


der Aufhanger, der 


son) 








Anhanger, der 
Verbinder 


Joining-stitch : see 










Sewing 










Jubilee : see Cele- 










bration : see Fes- 








i . ' ■ | 


tival 











Kerchief, fichu : see 
Fascinator 

King 

Knee - scarfs : see 

Boot-tops 
Knife 

Knit, to 



Knitter 

Knitting-needle 

Knitting pin, nee- 
dle end, knitting- 
sheath, support, 
knitting shield 

Knot : see Noose : 

see Tie, to 
Knotted work : see 

Macrame' 



le fichu, la fanchon, 
la marmotte, le 
couvre-chef 

le roi 



le couteau 
tricoter 



la 



le tricoteur, 

tricoteuse 
Faiguille a tricoter, 

la broche 
l'afliquet, le porte- 

aiguille 



le noeud 



K 

il fisciu, il fazzo- el panuelo 

letto di capo da 

donna 
il re el rey 



il cotello 

lavorare all'ago, 
lavorare a mag- 
lia 

il calzettago 

il ferro da calza, il 
ferro da calzetta 

il cannello pei fer- 
ri da calza 



il nodo, il groppo, 
il gruppo 



el cuchillo, el cor- 

taplumas 
hacer media, tejer 



el calcetero, el te- 
jedor 

la aguja de hacer 
medias 6 de malla 

el palillo sujeto a 
la cintura para 
apoyar la aguja 
de hacer calceta 

el nudo 



das Brusttuch 

der Konig 

das Messer 
stricken 



der Strieker, die 
Strickerin 

die Stricknadel, 
der Strickstock 

die Strickscheide, 
die Stricknadel- 
halter, das Strick- 
nadelrohr, das 
Nadelholz 

der Knoten 



52 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



ENGLISH 



Lace, pearlin, 

pearling 



FRENCH 



ITALIAN 



SPANISH 



GERMAN 



Lace-bark tree, La- 
getta Lintearia 
(vegetable lace) 

Lace-maker, lace- 
worker 

Lace turn : see 
Winding machine 

Lace up, to 

Lacing, string, 

cord : see Cap- 
string 

Lamb 

Lambrequin, man- 
tle-cloth : see 
Tidy 



Lapel, revers 
Lappet, tab, pinner 

Layette 

Laying out : see 
Outlining : see 
Setting : see Lay 
out, to : see 
Draft 

Lay out, to; block 
out, to ; stake 
out, to ; mark 
out, to ; appor- 
tion, to : see 
Laying out 

Leaf, paddle, seed, 
grain, wheat ear, 
lozenge : see Tuft 

Leaf-stitch, mat- 
ting-stitch : see 
Tuft 

Learn, to 

Left (adj.) 

Length 

Lesson 

Letter 

Light, illumination 
Light, fluffy (adj.) 
Light up, to ; 
lighten, to ; in- 
crease the high 
lights, to ; set off, 
to ; enhance, to : 
see Enrich, to 



la dentelle, le pas- il merletto, la trina las puntillas, el en- die Spitze 



sement 



le bois dentelle, le 
laget 

la dentelliere 



lacer 

l'entrelac, la ficelle, 
le cordon 

l'agneau 

le dessus de che- 
minee, le man- 
teau de cheminSe 



le revers 
la barbe 

la layette 

le trace 



jalonner 



le pgtale 



apprendre 

gauch -e 
la longueur 
la lecon 



(narrow) (cuts, caje 

pinkings, pinch- 
ings) il pizzo 
(tips, peaks), il 
passamano, il 
fimboice, gli mer- 
li (little turrets, 
battlements), il 
tarnete 



la lavoranta in la encajera 
merletti 



allacciare 
il groppo 



il agnello 

il fregi d'intaglio 



lacear 

el cordon de enlace 



el cordero, el bor- 

rego 
el emantelete 



la mostra d'un abite la solapa 



la falda, la bandel- 
la 

le fasce, i pannol- 
lini 

la traccia, la mo- 
stra 



abbozzare, indicare, 
piantar delle bif- 
fe 



l'armelletta, il fo- 
glio 



las caidas de toca 
los panales 
la traza 

marcas los contor- 
nos 

la hoja, el pgtalo 



la punta armeletta el empalletado 



appren- aprender 



imparare, 

dere 
sinistro, mancino 
la lunghezza 
il lezione 



la lettre la lettera 

la lumiere la luce, la lume 

leger -ere leggero 

eclairer, decharger balenare 



izquierda siniestra 
la longitud 
la lecci6n 

la carta 

la luz 

ligero 

alumbrar, aligerar 



der Spitzenklop- 
pler, die Spitzen- 
macherin 



schniiren 
die Schnur 



das Lamm 

die Kaminbeklei- 
dung, das Zacken 
oder Bogen Be- 
hange, die Bek- 
leidung als Zim- 
merschmuck. 

der Aufschlag 

der Zipfel, der 
Haubenfliigel 

die Ausstattung fur 
ein kleines Kind 

das zur Schau le- 
gen, das Heraus- 
legen 



verteilen, die Richt- 
punkte aufstel- 
len, auszeichnen, 
abstecken 



das Blatt 



der Formenschlag 



lernen 



linke 
die lange 
die Aufgabe, 

Lehrstunde 
der Buchstabe 
das Licht 
leicht 
erleichtern, 

laden 



die 



EXPLANATIONS AND NOMENCLATURE 



53 



ENGLISH 

Line : see Row 
Linen apparel, lin- 
gerie 



FRENCH 



la ligne 
la lingerie 



Linen chest : see 

Chest 
Linen closet 
Linen cloth : see 

Napery 
Linen house, white 

goods house 
Linen press : see la presse 

Press 
Linen-stitch : see 

Cloth-stitch 
Linen thread 
Linen trade 



Lint 

Little finger 

Livery 

Lobster claw : s 

Puff iron 
Long (adj.) 
Long, column 

treble stitch 
Loom 
Loop : see Pearl 



Loop-maker, ring- 
let-maker 
Loop row, first row 

Loose, slack (adj.) 
Lozenge, diamond 



l'armoire a. linge 
la toile de lin, le 

linon 
la maison de blanc 



le fil de lin 
la toilerie 



la charpie 

le petit doigt, 1'au- 

riculaire 
la livree 



long -ue 
la bride 

le mgtier a tisser 
la bride, la boucle, 

la ganse, la bou- 

clette 
la boucleuse 



lache 

le losange 



ITALIAN 

la linea 

la biancheria del 

corpo, i panni 

lini 



la guardaroba 
la tela di lino 

la casa di bian- 
cheria 

il strettoio 



il refe 

il commercio di 

biancheria 
il filaticcio 
il dito mignolo, il 

dito auriculare 
la livrea 



lungo 

il punto lungho 

il telaio da tessere 
la maglia 



la cordoncinatrice 

? 

lento, allentato 
il rombo 



SPANISH 

la linea 

la ropa blanca 



el armario 

la tela de lino, el 

lienzo 
la lenceria 

la prensa 



el hilo de lino 

el comercio de lien- 

zos 
el lino 
el dedo menique 

la librea 



largo 

el punto largo 

el telar 

el lazo, el rizo 



el que hace el rizo 

la primera linea de 

aros 
suelto, destado 
el rombo 



GERMAN 

die Linie 

die weisse Wasche 



der Leinenschrank 
die Leinwand, das 

Leinen 
die Weisswaren- 

hiindel 
die Leinenpresse 



der Leinenfaden 
der Leinwandhan- 

del 
die Charpie 
der kleine Finger 

die Livree 



lang 

das Stabchen 

der Webstuhl 
die Schlinge, die 
Oesen, die Osen 

der Oesenmacher 

das Aufschlag 

los 

die Rhomboide, der 
Rhombus 



M 



Machine net 


le tulle mecanique, 


il tulle, il tulle mec-' 


el mecanico 


das Maschinen 




le tulle fait a la 


canico 




Netz 




machine 








Macramg, knotted 


le macrame', 1'en- 


il punto a groppo 


el encaje Moresco 


die Kniipfarbeit 


work, filet de 


trelacs, le filet 








Carnasiere 


de Carnasiere 








Maker of modes or 


la modeuse 


la giornotrice 


el hacedor de pun- 


die Fiillungmach- 


jours, filling 






tos de fantasia 


erin 


maker 










Making, working 


I'execution, la con- 


il costruzione 


la hechura, el tra- 


die Vollziehung, die 




fection 




bajo, la ejecueiSn 


Ausfiihrung 


Making of : see 










Pricking of 










Maltese (adj.) 


maltais -e, de Mal- 

te 
la faille, la mantil- 


malteze 


maltes 


malthesisch 


Mantilla : see Fas- 


la mantilla 


la mantilla 


die Mantille 


cinator 


le 








Mantle 


le manteau, la man- 
te 


il sopreveste, il so- 
prebito, il man- 
tello 


el manto, la capa 


der Mantel 


Manufacturer 


le fabricant, le ma- 
nufacturier 


il fabbricante, il 
fabbricatore, il 
manifatturiere 


el fabricante 


der Fabrikant 


Mark 


la marque 


la marca 


la marca 


die Marke, das Mai, 
das Merkmal 


Mark out, to: see 










Lay out, to 











54 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



ENGLISH 


FRENCH 




ITALIAN 


SPANISH 


GERMAN 


Marking out, divid- 


la jalonnement, 


la 


il divisione 


el sefialado 


das Abstecken, das 


ing, laying out, 


division 








Markieren 


indicating, stak- 












ing, staking out 












Mask 


le masque, le loup 


la maschera, il lupo 


la mascara 


die Maske 


Mate, companion- 


le pendant 




il riscontro 


el companero 


das Gegenstiick 


piece 












Materials, furnish- 


les materiaux, 


les 


le forniture, li ma- 


los avios, los mate- 


die Materialien, das 


ings 


fournitures, 1' 
tillage 


ou- 


teriali 


riales 


Arbeitsmaterial 


Matting-stitch : see 












Leaf-stitch 












Measure : see Tape 


la mesure 




la mesura 


la medida 


das Linead zum 


measure : see 










gleichmassigen 


Mesh stick : see 










Einstecken der 


Ruler 










Stecknadel 


Medallion, inset : 


l'incrustation, l'i 


ap- 


l'incrostatura, l'in- 


el embutido, el me- 


das Spitzen-Medal- 


see Square 


plique 




crostamento, gli 
pezzi da incasta- 
re, gli pezzi da 
intarsiare 


dallon 


lion, der Spitzen- 
Einsatz 


Mediaeval, medie- 


du moyen age 




il medio evo 


de la edad media 


mittelalterlich 


val (adj.) 












Mend, to 


raccomoder 




raccomodare 


remendar, reparar 


ausbessern, flicken 


Mending of faults : 


le regalage 




•> 


el corregido de fal- 


die Ausbesserung 


see Repairing : 








tas 


mangelhafter 


see Finishing 










Spitzen 


Mercerised (adj.) 


mercerise -e 




lucido 


lustroso 


mercerisiert, merce- 
riert 


Mesh 


la maille 




la maglia, la maglia 
di rete 


la malla 


die Masche 


Mesh-stick, mold : 


le moule, l'ais a fai- 


il asse, la tavola di 


el molde 


der Strickstab, der 


see Gauge : see 


re des filets, 


la 


legno 




Strickstock 


Measure : see 


planche a fa 


ire 








Ruler 


les filets 










Metallic (adj.) 


metallique 




metallico 


metalico 


metallisch 


Mexican (adj.) 


mexicain -e 




messicano 


mejicano 


mexikanisch 


Middle : see Centre 












Middle finger 


le doigt majeur, 
mfidius 


le 


il medio, il dito me- 
dio 


el dedo del medio 


der Mittelfinger 


Mirror : see Pene- 












lope 












Mitre : see Gusset 












Model 


le modele 




il modello, il esem- 
plo 


el modelo 


das Muster 


Modern (adj.) : see 


moderne 




moderno 


moderno 


modern 


New 












Modesty piece : see 


la garniture de cor- 


la garnitura di cor- 


el encaje de Costi- 


der Streifen an ei- 


Tucker 


sage 




sagio 


lla, una blonda 
que se pone a los 
vestidos en la 
parte superior 
del pecho 


ner Schniir 


Modify, to 


modifier 




modificare 


modificar 


abiindern 


Mohair, alpaca 


le mohair, l'alpaga 


l'alpaca 


la alpaca 


das Haartucb, der 












Mohr 


Moisten, to : see 












Dampen, to 












Monogram 


le monogramme 




il monogramo 


el monograma 


der Namenzug 


Moon 


la lune 




la luna 


la luna 


der Mond 


Mosaic, tesselated 


en mosaique 




mosaico 


mosaico 


mosaikartig 


(adj.) 












Mother-of-pearl 


la nacre 




la madre perla 


el nacar, la madre 
perla 


die Perlmutter 


Mount, to : see 


monter, entoiler 




montare un lavoro 


montar 


aufziehen 


Transfer, to 












Mummy wrappings 


les draps de momie 


7 


la ropa de momia 


das Mumiengewand 


Museum : see Col- 


le musee 




il museo 


el museo 


das Museum 


lection 












Mythological (adj.) 


mythologique 




mitpjogjpo 


mitol6gico 


mythologisch 



EXPLANATIONS AND NOMENCLATURE 



55 



ENGLISH 


FRENCH 


ITALIAN 
il chiodo, il chiovo, 


SPANISH 


GERMAN 


Nail : see Took : 


le clou 


el clavo 


der Nagel 


see Thumb tack 




il aguto, il chia- 
vello 






Nail (2% inches) 


? 


il ottavo (misura) 


la medida de dos 
pulgadas y cuar- 
to, 6 la diecisei- 
sava parte de 
una vara 


das Mass von 2% 
Zoll 


Name 


la denomination, le 


il nome 


el nombre 


der Namen 


N apery, linen goods : 


nom 
la napperie, la nap- 


la biancheria da ta- 


la manteleria 


das Tafelzeug, das 


see Linen cloth 


pe 


vola 




Leinzeug 


Napkin 


la serviette 


la salvietta, la to- 
vagliuola 


la servilleta 


die Serviette, das 
Tellertuch 


Narrow (adj.) 


Stroit -e 


strctto 


estrecho, angosto 


enge, schmal 


Naturalistic (adj.) 


naturaliste 


naturalista 


naturalista 


naturalistisch 


Needle 


l'aiguille 


el ago, il aco 


la aguja 


die Nadel 


Needlecase, needle 


l'gtui a aiguilles, le 


il agoraio, il agaio- 


el alfiletero 


die Nadelbiichse, 


book : see Case 


porte - aiguille, 1' 
aiguillier 


ulo, il buzzo 




das Nadelbuch 


Needle ends, pro- 


? 


•> 


el porta-agujas 


die Strickstiefel 


tectors 










Needleful, a 


une aiguillee 


el agugliato 


la hebra 


eine Nadel-Voll 


Needlepoint lace 


la dentelle a l'ai- 
guille 
•> 


il trino ad ago 


la punta 


die Nadelspitze 


Needle threader, 


? 


el ensartador de 


die Nadel Einfas- 


threader (instru- 






agujas 


serin 


ment) 










Needle-work 


l'ouvrage a l'aiguil- 


il lavoro ad ago 


la labor de aguja, 


die Handarbeit, die 




le, la tapisserie, 




la costura 


Nadelarbeit 




l'ouvrage de da- 










mes 








Net: see Ground 


le rfeeau, ? dros- 
chel, le rgzel, le 
rezeuil. le raz- 
zeuil, le tulle 


il rete, il redexelo 


el rete 


das Netz, der Netz- 
grund 


Netting-needle 


la navette 


il spillo di fare rete 


la aguja de tejer 
redes 


die Netz-Nadel 


Network, darned 


le lacis, le filet bro- 


il lavoro di maglia, 


la obra de malla 


das Netzwerk 


netting, spider 


dS, le point contS 


il punto a ma- 






work : see Spid- 
er 
New (adj.) : see 




gliata 






neuf, neuve, nou- 


nuovo 


nuevo, nuevecito 


neu 


Fresh : see Mo- 


veau, nouvelle 








dern 










Nightcap 


le toquet 


il berrettino 


el gorro de dormir 


die Nachtmutze 


Nineteenth (adj.) 


dix-neuvieme 


diciannovesimo, de- 
cimonono 


d^cimonono 


neunzehnte 


Noose, slip-knot : 


le noeud coulant 


il nodo scorsoio 


el lazo 


die Fadenschlinge 


see Knot 










Norwegian (adj.) 


norvegien -ne, de 
Norvege 


norvegio 

o 


noruego 


norwegisch 


Oblique (adj.) : see 


oblique 


obliquo 


oblicuo 


schrag, schief 


Diagonal 










Oblong (adj.) 


de forme oblongue, 
de figure oblon- 
gue 


oblungo, bislungo 


oblongo 


langlich, oblong 


Ochre, ocher 


l'ocre, l'ochre 


il octa, l'ocria 


el ocre 


der Ocher, der 
Oker 


Oil 


l'huile 


l'olio 


el oleo, el aceite 


das Oel 


Oil cloth, wax 


la toile ciree 


la tela incerata 


el encerado, la tela 


das Wachstuch, die 


cloth 






encerada 


Wachsleinwand 


Olive (adj.) 


d'olivier 


d'oliva 


de oliva 


oliven 



56 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



ENGLISH 

Omit, to, skip, to : 
see False stitch 
Open (adj.) 
Openwork 



Organdie, organdi- 

muslin 
Ornament 



Orphrey, clavi 
Outer pairs 

Outline, to : see 
Outlining : see 
Wheel 

Outlining : see Out- 
lining thread : 
see Buttonhol- 
ing: see Laying 
out: see Setting: 
see Gimp : see 
Outline, to 

Outlining thread, 
outline: see 
Gimp : see But- 
tonholing 

Over, above, upon 

Overcast, to, whip, 
to, over-sew, to 

Overlapping, im- 
bricated (adj.) 

Overs 



Padding 
Pair 
Pall, cloak 



Pall, covering : see 
Chalice cover- 
ing 

Panel 

Parallel (adj.) 

Parasol, sunshade 

Parchment, vellum : 
see Pattern 

Passementerie 

Passive pairs, pas- 
sives, hangers 

Paten-cover : see 

Chalice cover 
Patronage 

Pattern, diagram : 
see Parchment 



FRENCH 

passer, omettre, 

sauter 
ouvert -e 
l'ouvrage a jour, 1'- 

ouvrage a claire- 

voie 
l'organdi, l'organ- 

dis 
l'ornement 



Forphroi 

les paires extfirieu- 

res 
cerner, scilloner, 

border, echelon- 

ner, batir 
1'entourage 



le fil de trace, le fil 
de contour, le 
bati 

au-dessus, sur 

surjeter, faire un 

surjet a 
imbrique' -e, imbri- 

c6 -e, enchevau- 

ch6 -e 
le jetfi 



le bourre, l'ouate 
la paire 
le pallium 

le poele, le drap 
mortuaire 

le panneau 

parallele 

le parasol 

la cartisane, le par- 
chemin 

le passement, la 
passementerie 

les paires pendan- 
tes, les paires de 
chaine 

le patronage 

le patron, le tracg 



ITALIAN 
omettre, trascurare 

aperto 

il lavoro a giorno 



l'organdi 

il ornamento, il 
adornamento, il 
fregio 

■> 



bastimentare 



SPANISH 

pasar por alto, omi- 

tir 
abierto 
calado 



el organdi 
el ornamento 



la clava 

los pares exteriores 



l'orditura 



il filo di traccia 



perfilar 



el contorno, el per- 
fil 



el hilo de perfil 



sopra, di sopra, ol- sobre 

tre, sulla 
cucire a sopraggit- hilvanar 

to 
imbricato imbricado 



— P- 



la borra 
il paio 
il pallio 



il coltre, il panno 
da morti 

el assicello 

parallelo, equidis- 

tante 
il parasole 

la pergamena, la 
cartapecora 

il passamano 



il patronezgo 

la mostra, il cam- 
pione 



el punto por enci- 
ma 



la guata, la borra 
el par 

el palio de arzobis- 
po 

el pafio de atafld, 
el pafio mortuo- 
rio 

el cuarter6n 

paralelo 

el quitasol, el para- 
sol 

el pergamino, la vi- 
tela 

la pasamaneria 

el par pasivo 



el patrocinio, el pa- 

tronato 
el modelo 



GERMAN 

iiberspringen 

offen 

die Durchbroch-Ar- 
beit 

der Organdi 

die Verzierung 



die Keule 
die Drehpaare 

in Umriss zeichnen 



der Umriss 



der Umrissfaden 



uber, auf 

iiberniihen, u m ■ 

schlingen 
dachziegelformig 



das Umschlagen 



das Unterlegen 

das Paar 

der Bischofsman- 

tel, der Talar, 

das Pallium 
das Pallium, das 

Leichentuch 

das langlische 

Stuck 
parallel, gleichlauf- 

end 
der Sonnenschirm 

das feine Kalbsle- 
der, das Perga- 
ment, das Velin 

die Passementerie 

die Risspaare 



das Patronat, die 
Begiinstigung 

das Muster, das 
Spitzenmuster, 
der Spitzenmodel 



EXPLANATIONS AND NOMENCLATURE 



57 



ENGLISH 
Pattern maker 

Pearl: see Loop 



Pearl-maker 

Pearl-tie, bar, 
strand, bridge, 
coxcomb, leg, 
pearl, half-wheel, 
tie, bride : see 
Bar 



Pearl-tier 
Peasant 

Peddler, hawker 
Peg, plug 



Pen 

Pencil 

Penelope mirror 

Period, epoch : see 

Century 
Petticoat 

Pewter 
Photograph 

Pick up (a stitch), 

to 
Pillow (lace) : see 

Cushion (sofa) 

Pillow lace : see 

Bobbin lace 
Pillow sham 



Pillow slip, pillow 
case, pillow-bier, 
pillow-beer, pil- 
lowebere 

Pin 

Pin, to : see Stick 
in, to 



Pincushion 
Pinhole 
Pink, to 



FRENCH 

la patronneuse, le 

patronneur 
le picot, la boucle 



la picoteuse 
la bride 



la brideuse 



la paysanne, le 
paysan 

le colporteur, le ca- 

melote 
la cherille, l'epin- 

gle de bois 

la plume 
la crayon 
le mirroir Pgnelope 

l'epoque 

le jupon 

Tetain 

la photographie 



le coussin, le car- 
reau, le mfitier 



la manche de para- 
de ?, le cache 
oreiller 

la taie d'oreiller 



1' epingle 

mettre une epingle, 
piquer une 6pin- 
gle, poser une 
epingle 

la pelote a fipingles 

le trou d'gpingle, la 
porte 

faire des oeillets, 
trouer, percer un 
etoffe, decouper 
suivant un des- 
sin, chequSter 



ITALIAN 
la zoccolaja 

la smerlatura, il 
dentello, l'orlatu- 
ra di ricamo 

la smerlatrice 

la bride 



la bridetrice ?, la 
lega trice 

il paesano, il conta- 
dino 



il merciaiuolo 

la caviglia, la ca- 
vicchia, il piulo, 
il brocco 

la penna 

il pennello 

lo specchio di Pene- 
lope 

l'epoca 

la gonnella, la gon- 

nellina 
il peltro, il stagno 
la fotografia 



relever, reprendre rialzare 



il tombolo, il cus- 
cino, il guanciali- 
no 



la fodera, la fode- 
retta 



la spilla 
pungere 



il guanciallino da 

spilli. il torsello 
la bocca da spilli 

foracehiare, bucac- 
chiare una stoffa 
a disegno 



SPANISH 

el hacedor de mode- 

los 
la puntilla, el pi- 

quillo 

la picadora 

la ligadura, los hi- 
los que conectan 
las varias partes 
solidas del enca- 
je, hecho de dos 
o mas cabos que 
son o bien como 
cordones o cu- 
biertos con pun- 
tos de remate o 
bordes 

la aseguradora 



la aldeana, el aldea- 
no, el patan, el 
labriego, el cam- 
pesino 

el buhonero, el ba- 
ratillero 

la estaquilla, la cla- 
vija 

la pluma 

el lapiz 

el espejo de PenS- 

lope 
la epoca, el periodo 

la falda bajera o de 

barros 
el peltre 
la fotografia 

recoger ( un pun- 

to) 
la almohadilla para 

hacer encajes 



la cubierta de ador- 
no para almoha- 
da 

la funda de almoha- 
da 



el alfiler 

prender con alfile- 
res, asegurar 

el acerico 
el agujero 
ojetear, picar 



GERMAN 

die Musterzeichne- 
rin 

das Picot 



die Oesermacherin 
das Bindeband, das 
Schlosschen 



die Festigmacherin 
von Alenconner 
Spitze 

der Bauer, der 
Landmann 



der Hausirer 
der Pflock 



die Schreibfeder 

der Pinsel 

der Penelope Spie- 
gel 

der Zeitraum, die 
Periode 

der TJnterrock 

das vermischte Zinn 
die Photographie, 

das Lichtbild 
wieder aufnehmen 

das Kissen, das 
Koppelkissen, der 
Kloppelsack 



die Kissendecke 



der Kisseniiberzug 



die Stecknadel 
stecken 



das NadelMssen 

der Stecknadel 

Punkt 
auszacken, a u s - 

schneiden 



58 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



ENGLISH 



FRENCH 



la tresse, la natte 
tresser, natter 



Pinner : see Lap- 
pet 

Plain : see Simple 

Plait, braid, tresse : 
see Fold 

Plait, to, braid, to 

Plaiting : see Fill- 
ing 

Platform of pillow la planche, la plate 
forme 

Plume, tuft, pan- le panache 
ache 

Ply (single), le pli 

strand 

Point, Vandyke : la Crete 
see Scallop 



ITALIAN 



la treccia 
intrecciare 

l'assa, la piatta- 

forma 
il pennacchio 

la piega 

la cresta, il dente 



Poking stick 

(iron), setting- 
stick, strut 
(wood or bone) : 
see Puff iron 

Polish, to 

Polychrome (adj.) 
Position 

Pound sterling 
Press : see Puff 

iron : see Linen 

2>ress 
Pretty (adj.) : see 

Beautiful 
Price 
Pricker, marker 

( instrument) : 

see Stiletto 
Pricker, marker 

(person) 



Pricking, parch- 
ment, down, each 

Pricking or mak- 
ing of 

Professional (adj.) 
see Expert : see 
Authority 

Prong 

Pucker : see Crease : 
see Gather, to 

Puff iron, lace awl, 
polishing iron, 
agate, raiser, lob- 
ster claw, bmr- 
nisher : see Pok- 
ing stick : see 
Press 

Pull, to 

Pull over, to : see 
Slip off, to 

Pupil 

Puppet, doll, man- 
ikin 



la broche, le baton 



a plisser 
fraises ou 
manchettes, 
composteur, 
potelet 
polir 



les 

les 

le 

le 



polychrome 

la position, la pose 

la livre (25 francs) 
le lissoir 



pulire, lustrare, 

lisciare 
policroma 
la posa, la posi- 

tura, il posizione 
la lira sterlina 
el lisciatoio 



joli -e leggiadre, gentile, 
vezzoso 

le prix il prezzo 

la pointe, l'aiguille il ago da forare 

a piqueter 

la pointeuse, la la chi cuce, che chi 
piqueuse sia di strapunto 



le pique\ le carton- il pizzicore, li piz- 
guide, le passe- zilli, il cartone 



ment 
le piquage, la pi- 

qure, le picage, 

le piquetage 
professionel -le, 

professionale 

la dent de fourchon 



Foeuf, le fer a can- 
nonier, le fer a 
coque, l'alfeoir, 
la pince, l'aficot 



il frastaglo 
professionale 
il rebbio 



il puffiture, le 
branche dei gam- 
beri 



tirer, serrer tirare 

rabattre, rabattre abbassare, scemare 

les mailles 

l'eleve il scolare 

la marionnette, le il manichino 
Courrier de la 
Mode, la poupee 



SPANISH 



la trenza, el cor- 

doncillo 
trenzar 



la plataforma 

el penacho 

la doblez 

el cuello de encaje 
Van Dyke 



el instrumento de 
hueso o madera 
que se usa ajus- 
tando los pliegues 
de una lechuguil- 
la 

pulir (agujas) 

policromo 

la positura, la pos 

tura, la posiclon 
la libra esterlina 
el satinador, el lus- 

trador 

bonito, lindo 

el precio 
el punzon 



el que pica, el mar- 
cador 



la picadura 
la picadura 
professional 
la punta 
el esponjador 



tirar 
cruzar 

el discfpulo 

el maniqul 



GERMAN 



der Flechtenschlag, 

die Flechte 
flechten 



das Kloppelbrett 

der Federbusch, der 

Helmfederbusch 
einfach 

die ausgezackte 

Spitzen, das 

Zackchen, die 
Spitze 

das Stabchen 



poliren, glatten 

bunt 

die Lage, die Stel- 

lung 
das Pfund Sterling 
? Weissholzer, die 

Glattmaschine 

hiibsch 

der Preis 

die Pickiernadel 



die Punktierin, die 

Musterdurchpau- 

serin, der Locher- 

stecher 
der Kloppelbrief, 

das Muster, "die 

Aufwinde" 
das Durchstechen, 

des Musters auf 

Pergament 
berufsmassig 



die Zinke 



der Puffer, das Bii- 
gel, ? Kobben, 
der Glattstahl, 
der Glatter, die 
Hummerschere 



ziehen 
verschranken 

der Schuler, die 

Sehulerin 
die Puppe, die 

Marionette 



EXPLANATIONS AND NOMENCLATURE 



59 



ENGLISH 

Purl, to ; seam, to, 
reverse, to 



FRENCH 
tricoter a l'envers 



ITALIAN 

far la calza a mag- 
lia a volta 



SPANISH 
perfilar 



GERMAN 

links stricken 



Quality 
Quatrefoil 
Queen 
Quick (adj.) 

Quille : see Fluting 



Quilling : see Flut- 
ing 

Quilter : see Stitch- 
er 

Quilting : see 

Wadding 

Quincunx 
Quiver, sheath 



Raised, embossed 

(adj.) : see Gimp 
Raiser : see Puff 

iron 
Rare (adj.) 

Expensive : 

Valuable 
Ravel, to ; 

to ; unravel, to ; 

reave, to ; reeve. 

to ; unweave, to 
Ravellings 



see 
see 



Razor-cloth : see 
Combing cloth 

Reader, lay-sister, 
entertainer, non- 
worker 

Realistic (adj.) 

Reduce, to ; lessen, 
to ; diminish, to : 
see Decrease, to 

Reel, to ; wind, to 

Refiner : see Fin- 
isher 

Removing, loosen- 
ing, detaching : 
see Rip, to 

Renascence, re- 

birth 

Repairer of breaks 
and faults : see 
Finisher 

Repairing, repara- 
tion : see 
Strengthening : 
see Mending 

Repeat, to ; see 
False stitch 

Reticular, retiform 
(adj.) 

Reversible (adj.) : 
see Double faced 



la quality 

les quatre-feuilles 

la reine 

leste, vite 

la campane, la 
houppe, la touffe, 
la ruche 



la pique, le mate- 
lass6 

le quinconce 
le carquois 



en relief, bombfi -e 



fray, effiler, effiloquer 



le parfilage, la par- 

filure, l'emlure 
le linge a barbe 

la b£ate 



realiste 
reduire 



devider 

l'enlevage 

la renaissance 
la regaleuse 



le ravaudage, le 
remaillage 



repeter 

retiforme 

a deux endroits 



Q 

la qualita 

le quatro foglio 

la regina 

lesto, snello, spedi- 
to 

la frangia, il mer- 
letto piegato en 
forma di arnia 



la stoffa cosi detta, 
l'imbottir, il 

trapunto 

la quinconce 

la faretra 

R 

in relievo, rose, 
rilevato 



sfilare, sfilacciare 

gli filacce 

il ceccio da barba 

il leggitore, il man- 
tenitore 

realista 
ridurre 

addipanare 

il levare 



il risorgimento, il 

rimascimento 
la regalatrice 



il racconciamento 



ripetere, ricomm- 

ciare 
rete 

rivocabile 



la calidad 

el cuadrifolio 

la reina 

veloz, acelerado, 

ligero 
el pliegue en forma 

cilindrica 



die Qualitat 

das Vier-blatt 
die Konigin 
schnell 

die Troddel, 
Quaste 



die 



la cajera, el picado das Steppen 



el quincunce 
el carcaj 



en relieve 



das Quincunx 
der Kocher 



erhaben 



selten 



deshilar, desenlazer auftrennen, aufzieh- 
en 



la hilacha Ausgezuptes, ausge- 

zogene Faden 
el babadero, el ba- das Bart-Tuch 

bador 
la lectora ? 



realista 
reducir 



devanar 



el soltar 



realistisch 
vermindern 



haspeln, aufwinden 
das Wegnehmen 



el renacinniento die Renaissance 

el reparador, el der Ausbesserer 
apisonador 

la reparaci6n die Ausbesserung 

das Ausbessern 



repetir 
reticular 



wiederholen 
netzformig 



que admite posiciSn umkehrbar 
6 direccion opue- 
sta 



60 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



ENGLISH 


FRENCH 


ITALIAN 


SPANISH 


GERMAN 


Bib : see Raised : 










see Gimp 










Ribbon : see Stir- 


le ruban 


il nastro 


la cinta de seda 


das Band 


rup 










Rice 


le riz 


il riso 


el arroz 


der Reis 


Rich, handsome 


riche 


ricca 


rico 


reich 


(adj.) : see Beau- 










tiful: see Pretty 






/ 




Right hand side 


droit -e 


destro 


derecha 


rechts 


Right side, front 


Fendroit 


il ritto 


el lado derecho 


die Rechterseite 


Ring 


l'anneau, le rond, 
le cercle 


il anello 


el circulo, la cera, 
el anillo 


der Ring, der Kreis 


Ring finger 


le doigt annulaire 


il dito anulare 


el dedo anular 


der Ring Finger 


Rinse, to 


rincer 


sciacquare 


enjuagar 


auswaschen, aus- 
spulen 


Rip, to 


dficoudre 


scucire 


rasgar, hender 


auftrennen 


Rococo (adj.) 


Rocaille, Barocco, 
Roccoco, rococo 


rococo 


churriguersco 


rococo 


Rod : see Bar 










Rolling, whipping 


le point roule 


il arrotolamento ? 


el enrollado, el en- 
rollamiento, el 
arrollado, el arol- 
lamiento 


der Rollsaum 


Rose 


la rose 


la rosa 


la rosa 


die Rose 


Rosette (general 


la rosette, le noeud 


la rosetta, la gala 


la rosa, la roseta 


die Rosette 


use) , rose 










Rosettes (minute 


les couronnes, les 


le cornoa 


la rosa, la roseta, 


die Rosetten, die 


thread works) : 


fleurs volantes, 




el rosetSn 


Rosette 


see Crowns 


les rosaces 








Rough (adj.) 


rude, ebouriffe' -e 


rozzo, rude, abba- 
ruff a to 


erizado, encrespado 


rauh, roh, uneben 


Row : see Line : 


le rang, le tour 


l'ordine, la fila 


la fila, la Hnea, la 


die Reihe 


see Band 






hilera 




Royal (adj.) 


royal -e 


reale, regio 


real 


koniglich 


Rubbing : see Trac- 


l'impression 


l'impressione, l'im- 


el frotamiento 


der Abdruck 


ing 




pronto 






Ruff 


la fraise, la roton- 
de 


il eollare alia spag- 
nuola 


la lechuguilla 


die Krause 


Ruffle, hand ruff, 


la manchette, l'en- 


il manichino, il 


la vuelta, el puno 


die Manschette, die 


parte : see Cuff 


gageante, la pa- 
gode 


manichetto 




Handkrause 


Ruler : see Tape 


le tire-ligne, le re- 


il stecche 


la regla 


das Lineal 


measure : see 


gle, le reglet, la 








Mesh-stick : see 


reglette 








Measure 










Runner : see Ta- 


le chemin de table 


la striscia 


el tablero 


der Tischlaufer, der 


blecover 








Laufer 


Russian (adj.) 


russe 


russo 


ruso 


russisch 


Rust, to 


rouiller, se rouiller 


arrugginire, arrug- 
ginirsi, irruggini- 
re 


enmohecerse 


rosten, verrosten 


Sacramental (adj.) 


de benediction 


de benedizione 


sacramental 


sacrementlich, sa- 
crementarisch 


Saint Ann 


la Sainte Anne 


Sabbia Anna 


Santa Ana 


die Heilige Anna 


Salary 


les appointements, 


1'onorari, la sportu- 


el salario 


die Besoldung, das 




le traitement, les 


la, la ricompensa 




Gehalt 




honoraires 








Sample 


1'echantillon 


il campione 


la muestra 


das Muster 


Sampler, sam cloth 


Fexemplaire 


l'esemplare 


el ejemplar 


das Modelltuch, das 
Musterblatt, das 
Sticktuch 


Sand 


le sable 


la lazanta 


la arena 


der Sand 


Sawdust : see Ex- 


la sciure, la sciure 


la segatura 


el serrin 


das Siigemehl 


celsior 


de bois 








Scale, proportion 


Fechelle 


la scala, il propor- 
zioni 


la escala 


der Masstab 



EXPLANATIONS AND NOMENCLATURE 



61 



ENGLISH 


FRENCH 




ITALIAN 


SPANISH 


GERMAN 


Scallop : see Point : 


le feston 




il festone 


la recortadura 


der Bogen, die Zack- 


see Shell : see 










en 


Fan-shaped 












Scalloped (adj.) 


dentele" -e, feston- 


a festoni, scaglia di 


festoneado 


ausgezackt, ausge- 




ne -e, en ecailles 


pesce 




kerbt 


Scarf : see Tidy 


1'echarpe 




la sciarpa, la ciar- 


la banda 


die Scharpe 


School 


l'geole 




pa 
la scuola 


la escuela 


die Schule 


Scissors 


les ciseaux 




gli forbici 


las tijeras 


die Schere 


Scraps, remnants 


les restes 




il avanzo, il resto 


los restos 


der Abfall, die 
Kleinen Stiicke 


Screen 


le paravent 




il paravento 


la pantalla, el biom- 

bo 
el tornillo 


der Schirm 


Screw : see Cla mp 


la vis 




il vite 


die Schraube 


Scroll (spiral) : see 


l'enroulement, ] 


,'en- 


il avvolgersi, la vo- 


el encaracolado, el 


der Schnorkel 


Foliated 


jolivement, le 
ceau 


rin- 


luta, il incartoc- 
ciarsi 


adorno en espiral 




Seal 


le cachet, le plomb 


il piombo, la marca 


el sello 


das Siegel 


Secular, lay (adj.) : 


seculier -e, laique 


secolare, laico 


secular 


weltlich 


see Reader 












Sell, to 


vend re 




vendere 


vender 


verkaufen 


Selvage, selvedge : 


la lisiere 




la cimossa 


la orilla 


das Salbende, die 


see Edging : see 










Kante 


Footing 












Serpentine, vermi- 


serpentin -e, en 


ser- 


serpentina 


serpentino 


schlangen-artig 


culate (adj.) 


pent, tortueux 










-se, vermieuleux 
-se 
la parure, l'assorti- 


il assetto 






Set 


el juego 


die Garnitur 




ment, la garnitu- 








Setting : see Out- 


la sertissure, le 


ser- 


la incastonatura 


la engastadura, el 


die Einfassung 


lining : see Lay- 


tissage 






engaste, la mon- 




ing out : see Ap- 








tadura. 




ply, to 












Setting-stick : see 












Poking-stick 












Setting up (of 


1 




? 


la montadura 


das Aufsetzen 


loose petals) 












Seventeenth (adj.) 


dix-septieme 




diciassettesimo, de- 
cimosettime 


decimo septimo 


siebzehnte 


Sew, to 


coudre 




cucire, cusire 


coser 


nahen 


Sewing, joining 


1 e crochetage, 


le 


la cucitura, il cuci- 


el cosido, el engan- 


das Heften, die Zu- 


(lucky stroke?), 


raccrochage, 


le 


to 


che 


sammenhakelei, 


accroaching 


point de raccord, 






das Zusammen- 




le point de 


rac- 






hakeln 




croc, le point 


; de 










rucroc 










Shade : see Win- 












dow shade 












Shaded (adj.) 


ombre' -e, nuancg -e 


digradato 


sombreado 


schattiert 


Shape : see Form 












Sharpen, to ; grind, 


aiguiser 




affilare, aguzzare 


amolar, afilar 


schiirfen 


to ; whet, to 












Sharps 


? 




•> 


la aguja de coser 
de forma mas 
larga y mas del- 
gada 


7 


Shawl 


le chale 




lo sciallo 


el chal, el panolon, 
el paliuelo gran- 
de 

la vaina, la cubier- 


der Shawl, der 
Schal 


Sheath : see Cover- 


l'gtui, la gaine 


, le 


il astuccio, la cus- 


das Besteck, das 


ing cloth : see 


fourreau, la 


no- 


todia, la busta 


ta 


Futteral, d i e 


Case 


quette, la feuille 






Scheide 




de corne, 


la 










trousse 










Sheet 


le drap 




il lenzuolo 


la sabana 


das Bettuch 


Shell : see Scallop 


la coquille de 
Jacques 


St. 


la chiocciola, la lu- 
maca 


la concha 


die Muschel 



62 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



ENGLISH 


FRENCH 


ITALIAN 


SPANISH 


GERMAN 


Shift, to 


changer 


cambiare 


cambiar 


wechseln 


Short (adj.) : see 


court -e 


corto 


corto 


kurz 


Squat 










Showy, for display, 


d'apparat 


di pompa, ostenta- 


ostentoso 


pruukhaft 


ostentati ous 




zione 






(adj.) :see -Heavi- 










ness 










Shrink, to 


se rfitrecir, se rape- 


scorciare, ritirarsi, 


encogerse, atortar- 


sich zusammenzieh- 




tisser, rfitrecir 


diminuire 


se, disminuir 


e n, einschrump- 
fen, zusammen- 
trocknen 


Shuttle 


la navette 


la spola, la spuola 


la lanzadera 


das Weberschiff- 
chen, der Schiit- 


Sicilian (adj.) 


sicilien -ne, de Si- 
cile 


siciliano 


siciliano 


ze 

sizilianisch 


Silk : see Blonde 


la soie 


la seta 


la seda 


die Seide 


Silver 


l'argent 


il denaro 


la plata 


das Silber 


Simple, plain 


simple 


semplice, senzo or- 


sencillo -11a, sim- 


einfach 


(adj.) : see Easy 




namenti, senza 
fasto 


ple 


1 


Single (adj.) 


seul -e, simple 


solo, sola, semplice, 
unico 


tinico, solo 


einfach 


Single faced (adj.) 


a simple face 


semplice 


de una cara 


einseitig 


Single stitch, small 


la petite maille ser- 


il semplice piccolo 


el punto sencillo 


das einfache Stiib- 


close stitch 


ree, la chalne ser- 


punto 




chen 


Sitza 


ree 
? sitza 


? sitza 


? sitza 


? sitza 


Sixteenth (adj.) 


seizieme 


sedicesimo 


decimo sexto 


sechzehnte 


Size, dimension 


la grosseur, la 


l'estenzione, la gros- 


el tamafio, la di- 


der Dicke, die 




grandeur 


sezza, la grandez- 
za 


mension 


Grosse, die 
Starke 


Sizing, stiffening : 










see Dressing 










Skein 


l'Scheveau 


la matassa 


la madeja 


die Striihne, die 
Fitze 


Skill, dexterity : see 


l'habiletfi, la dexte- 


la destrezza, la des- 


la habilidad 


die Geschicklich- 


Execution 


rity 


terita 




keit 


Skirt 


la jupe 


il gonne, la gon- 
nella 


la falda, la saya 


der Rock 


Slab 


la plaque 


la tavola 


la plancha 


die Platte 


Slanting (adj.) : 


de biais, en 'biais, 


a sghembo, a sbie- 


inclinado, sesgado 


schief 


see Diagonal 


incline^ -e 


co, a schiancio 






Slashed, paned 


crevg -e, a. crevgs, 


staffilato, tagliato, 


acuchillado 


geschlitzt 


(adj.) 


fendu -e 


sfregiare, (aper- 
tura nelle mani- 
che per mostrare 
la stoffa al diso- 
to) 






Sleeve 


la manche 


la manica 


la manga 


der Aermel 


Slider 


le glissoir de come 


che sdrucciola, la 
passante 


la plaucha corre- 
diza transpar- 
ente 


der Schieber 


Slip, to 


glisser, passer, une 


sdrucciolare, scivo- 


perder un punto 


gleiten 




maille -un point 


lare 


para volver a 






pour le repren- 




cogerlo 






dre le tour sui- 










vant 








Slip off, to : see 


glisser, couler, 


colare, lasciare 


deslizar 


verschrilnken 


Pull over, to 


lacher, retourner 








Slit, opening, line, 


la riviere 


l'aperto 


la abertura 


der Schlitz 


band 










Slow (adj.) 


lent, lente 


lento 


lento, tardfo 


langsam 


Smock, shift, shirt 


le sarrau 


il pastrano, il gab- 
bano 


la blusa de obrero 


der Kittel 


Smooth (adj.) : 


lisse, uni -e 


liscio, piano, unito 


liso, llano, iguel 


eben, glatt 


see Flat: see 










Glazed 










Smuggling 


la contrebande 


il contrabbando 


ej contrabando 


der Schleichhandel, 
des Smuggeln 



EXPLANATIONS AND NOMENCLATURE 



63 



ENGLISH 


FRENCH 


ITALIAN 


SPANISH 


GERMAN 


Soak, to 


tremper 


bagnare, animol- 
lare 


remojar 


durchnassen, in der 
Weiche liegen, 
einweichen 


Soap 


le savon 


il sapone 


el jabon 


die Seife 


Soda 


la soude 


la soda 


la sosa, la soda 


die Soda 


Soft (adj.) 


mou, mol -le, deli- 
cat 
souiller 


molle 


blando 


zart 


Soil, to 


imbrattare, ingroz- 


ensuciar 


beschmutzen, be- 






zare, macchiare 




sudeln 


Song, verse, tell 


la chanson, le 


il canto, il canzone, 


la cancion, la can- 


das Lied 




chant 


la canzonetta 


tinela 




Spanish (adj.) 


espagnol -e, d'Es- 
pagne 


spagnuolo 


espanol 


spanisch 


Spider : see Net- 


l'araignee 


il ragno, il aragno 


la arafla 


die Spinne 


work 










Spin, to 


filer 


filare 


hilar 


spinnen 


Spindle 


la broche, la bo- 


il fuso, la bobine, 


el huso 


der Strickstock, 




bine, la casse 


il contraforte, 
l'infornapana 




der Stengel, die 
Spindel, ? Spille 


Splice, to 


Spisser 


9 


empalmar 


splissen 


Spool 


la bobine 


il rocchetto 


la canilla, el car- 
rete 


die Spule 


Spray, shoot, ten- 


la vrille, le brin, la 


il viticcio, il cap- 


la ramita, el pim- 


das Reis 


dril, sprig : see 


brandille, le rin- 


reolo 


pollo 




Tack 


ceau 








Sprinkled, sown, 


seme' -e, mouchete 


seminato, sparge- 


goteado 


sprenkelich, spren- 


powdered, strewn 


-e 


rato 




kelig, fecken 


(adj.) 










Square : see Medal- 


le carrfi 


il quadrado 


el cuadro, el cuad- 


das Viereck, das 


lion 






rado 


Quadrat 


Squat, dumpy, 


trapu -e 


atticciato 


truncado 


untersetzt 


truncated 










(adj.) see Short 










Stake out, to : see 










Lay out, to 










Stamp out, to ; 


affiquer, bosseler, 


lavorar d'incavo, 


dar figura redonda, 


aufstechen 


round out, to : 


refouler, f a i r e 


fare risaltare 


realzar 




see Puff iron 


ressortir 








Standing collar, 


le collet montant 


il collare Medici 


el cuello de Medici 


der Medicikragen 


Medici collar, 










standing ruff: 










see Collar 










Star 


I'fitoile 


la Stella 


la estrella 


der Stern 


Starch, to (Devil's 


amidonner, goud- 


insaldare 


almidonar 


stiirken 


Broth — early 


ronner, empesser 








name for starch) 










Steel 


1'acier 


il acciaio 


el acero 


der Stahl 


Steeping, macera- 


le rouissage 


il macerazione 


la mojadura, la ma- 


das Tunken, das 


tion 






ceraci6n 


Tauchen 


Stencil 


le patron, le poncif, 
le poncis 


il modello 


el patron o moddo 
calado para es- 
tarcir 


die Schablone 


Steps, in (adj.) : 


en Schelons 


per iscaglionli 


escalonado 


staffelweise, s t a f- 


see Zigzag 








felformig 


Stick in, to ; put 


enfoncer, mettre, 


affondare, fissare 


picar, punzar 


einstecken 


up, to : see Pin, 
to 
Stiff (adj.) 


planter 








raide, empes6 -e 


duro, inflessibile 


tieso 


steif 


Stiffening : see 










Dressing 










Stiletto, punch : see 


le poingon 


il punteruolo 


el punzon 


die Pfrieme 


Pricker 










Stirrup : see Loop : 


•> 


la staffa 


el estribo 


der Bugel 


see Riboon 










Stitch 


le point, la passfie 


il punto, la pun- 


la puntada, el 


die Masche, der 






tura, la maglia 


punto 


Spitzenstich, der 
Schlag, der Stich 


Stitcher, quilter, 


la piqueuse 


la piatrice, il ma- 


el colchonero 


die Stepperin 


coucher 




terassaijo 







64 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



ENGLISH 
Stomacher 



Straight (adj.) 
Strand 



Straw 

Streaked, striped, 
scored, striated 
(adj.) : see 
Stripe 

Strengthening, re- 
inforcing, back- 
ing : see Repair- 
ing 

Stretch, to ; give, 
to (intr. ) 

Stretch, to ; pull, to 
(trans.) 

Stripe : see Band : 
see Line : see 
Streaked : see 
Bar 

Stroke, to ; dispose, 
to 

Stroke 

Studio : see Work- 
room 
Study, to 
Stuffed (adj.) 

Style, fashion 
Style, manner, 
taste 

Subject : see De- 
sign 

Sumptuary laws, 
Office of Pomp 

Sun 

Surplice, stole 

Swaddling band 

Swiss (adj.) 
Symbol 
Symmetrical 
(adj.) 



Tablecloth 
Tablecover : see 

Runner 
Tack, sprig, flat 

nail : see Nail 
Tailor's thimble : 

see Finger shield 
T a 1 i t h , tallith, 

praying scarf, 

mantel 
Tambor: see Hoop 
Tambor-work 

Tangle, to ; snarl, 

to 
Tape, braid 



FRENCH 

le corsage lacS 



droit -e 

la meche, le cordon 



la paille 

strie' -e, rayS -e 



ITALIAN 

il corpetto, il busto, 

la pettiera, il 

gustacuore 
dritto 
il cordone, il cor- 

doncello, il cor- 

doncino 
la paglia 
strisciato 



le rentoilage, le il rinforzamento 
renforcement, 
Faction de forti- 
fier 

preter, s'elargir, 
s'fitendre 

etendre, tendre 



la raie, la rayure 



cedere 
stendere 
la riga 



striquer, 
riser 

le trait 
Fatelier 



regula- rendere, regolare 



il tratto 
lo studia 



gtudier 
rembourre -e 

la mode, la vogue 

le style, le ton, le 

cachet, le gout 

le motif, le sujet 

les lois somptuaires 

le soleil 

le surplis 

la bande d'emmail- 

lottement 
suisse 
le symbole 
symfitrique 



studiare 
imbottirato 

il modo, la voga 
il tuono, il stile, il 
gusto 

il soggetto, il mo- 

tivo 
le legge suntuaria 

il sole 

la fascia 

svizzero 
il simbolo 
simmetrico 



la nappe la tovaglia 

le dessus de table, la tavolina 

le tapis 
la semence, la bro- la bullettina 

quette 



le taled 



la broderie au tam- 
bour 
emmgler, entortiller 

le ruban de fil, la 
rivi&re de toile 



il taled 



il tambur 



SPANISH 
el peto, el corpino 

derecho 

el cabo, la hebra 



la paja 
estriado 



GERMAN 

der Latz 



gerade 

die Ducht, die Kar- 
desle, die Schnur 
eines Strickes 

das Stroh 

streifig 



la ribeteadora, la das Verstarken 
cosedora 



estirar 

extender, estirar 
la raya 



alisar, igualar los 
pliegues con la 
aguja 

el toque 

el taller 

estudiar 
llenado, relleno 

la moda 

la manera, el gusto, 
el tono 

el motivo, el sujeto 

el arreglo suntuario 

el sol 

el sobrepelliz 

la mantilla, el 

panel 
suizo 

el simbolo 
simetrico 



el mantel 
el tapete 

la tachuele sin ca- 
beza 



el talid 



el tambor 



scompigliare, im- enredar 

brogliare 
il nastro di filo, di 

lino, di cotone 



la cinta de lino o 
algodon 



sich dehnen lassen 

spannen 

der Streifen 

ausrauhen 



der Strich 
das Atelier 

studiren 

gestopft, v o 1 1 ge- 

pfropft 
die Mode 
der Styl, die Man- 

i e r , der Ge- 

schmack 
das Motiv 

die Aufwandsge- 

setze 
die Sonne 
die Stola 
das Wickelband 

schweizerisch 
der Sinnbild 
symmetrisch, eben- 

massig, gleich- 

massig 



das Tischtuch 
die Tischdecke 

der Stift 



der Gebetmantel, 
der Talar 



die tamburirte Ar- 
beit 
verwirren 

das Zwirnband, das 
Biindchen 



EXPLANATIONS AND NOMENCLATURE 



65 



ENGLISH 


FRENCH 


ITALIAN 


SPANISH 


GERMAN 


Tape measure, 


le metre en ruban 


la misura 


la cinta para medir 


das Bandmass, das 


line : see Ruler : 








Rollmetermass 


see Measure 










Tassel: see Tuft 


le gland 


la nappa 


la borla, el borl6n 


die Quasta 


Tatting 


la frivolity 


l'occhi 


el encaje de hilo 
hecho a m a n o 
con lanzadera 


das Occhi, die Eri- 
volitiiten 


Tatting pin and 


1 


? 


el alfiler y anillo 


•> 


ring 






usado para hacer 
encaje de hilo 
con lanzadera 




Tawdry, trashy, 


vilain, -e, ordinaire, 


comunaio 


sin elegancia 


geschmacklos ge- 


poor, ordinary, 


pauvre, maigre, 






putzt, flitterhaft, 


common (adj.) 


miserable 






wertlos, unniitz 


Tea 


le the 1 


il te 


el te 


der Tee 


Teach, to 


enseigner 


ammaestrare, is- 
truire, insegnare 


ensenar 


lehren, unterrich- 
ten 


Teacher, instructor 


l'institutrice, l'in- 


l'istitutore, l'isti- 


el maestro, el pre- 


die Lehrerin, der 




stituteur 


tutrice 


ceptor 


Lehrer 


Thick (adj.) 


epais -se 


grosso, fitto 


espeso 


dick 


Thickness 


Fepaisseur 


la grossezza 


el espesor 


die Dicke 


Thimble, thummel, 


le dS 


Fanello da cucire, 


el dedal 


der Fingerhut 


thumb-hell, fin- 




il ditale, il ditali 






gerling 




chiuso 






Thimble for crochet 


le dS pour le cro- 


? 


el dedal para hacer 


der hakel Finger- 


work, crochet 


chet sur metier 




crochet 


hut 


thimble 










Thin (adj.) 


mince 


sottile, leggiero 


delgado 


diinn 


Thread 


le fil 


il filo, il refe 


el hilo 


der F a d e n , der 
Spitzenzwirn, 
der Zwirnfaden 


Threader : see 










Needle threader 










Thumb 


le pouce 


il pollice 


el pulgar 


der Daumen 


Thumb tack, draw- 


la punaise 


? 


la tachuela 


der Reissnagel, der 


ing pin : see 








Reisszwecken 


Tacit : see Nail 










Ticking- 


la toile a matelas, 
le coutil 


il traliccio 


el terliz 


der Zwillich 


Tidy, chair-back : 


le dossier pour fau- 


l'antimacassar 


la funda para mue- 


das Schutzdeck- 


see Scarf : see 


teuils, etc. 




bles 


chen, der Scbo- 


Antimaca ssar : 








ner 


see Lambrequin 










Tie together, to ; 


attacher, Her 


attaccare, legare, 


atar, ligar, unir 


zusammenbinden 


attach, to : see 




legate 






Couple, to : see 










Fasten off, to : 


I 








see Knot 










Tight, taut (adj.) 


serrg -e, tendu -e 


stringato, teso 


tieso, bien cerrado 


straff, gespannt 


Tighten, to 


serrer 


stringare 


estirar 


fester machen, 
spannen, anzieh- 


Tin, white metal 


l'gtain, le ferblanc 


il stagno, la latta, 
il ferro stagnato 


el estano, la lata 


en 
das Zinn 


Tippet 


la pelerine 


la pellegrina 


la esclavina 


der Halskragen, 
der Palatin 


Token, coin 


le jeton, le gage 


la fiscia, il gettone, 
il pegno 


la medalla 


das Zeichen 


Tool, instrument : 


Finstrument 


l'istrumento, l'or- 


la herramienta, el 


das Werkzeug 


see Apparatus 




digno 


instrumento 




Top 


le haut 


l'alto 


el encabezamiento 


das Obereteil 


Torn, rent (adj.) 


deehirS -e 


squarciato, lacerato 


rasgado 


zerissen 


Tow 


la filasse 


la stoppa di canapa 


la estopa 


der Werg 


Towel 


l'essuie-main 


l'asciumano, la sal- 
vietta 


la toalla 


das Handtuch 


Towel sham, throw- 


le cache linge 


il eiocehe spende 


la cubierta de ador- 


das Oberhandtuch 


over 




sopra 


no para toalla 





fit; 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



ENGLISH 

Trace, to ; calk, to ; 
rub, to ; pounce, 
to 



Trace through, to 

Tracer 

Tracing: see Rub- 
bing 

Tracing cloth, pa- 
per: see Carbon 
paper 



Transfer, to : see 
Mount, to : see 
Carbon paper 

Transfer paper : see 
Carbon paper : 
see Tracing cloth 



FRENCH 

tracer, calquer, fai- 
re une impression 



tracer, buriner, cal- 
quer 

la traceuse, le tra- 
ceur 

? 



le papier de cai- 
que, le papier 
transparent, 1 a 
toile a calquer, 
le papier vegetal, 
le papier gelati- 
ne, la toile d'ar- 
chitecte 

transferer, remon- 
ter 



ITALIAN 

calcare, punteggia- 
re un disegno, 
copiar un diseg- 
no passando una 
punta sui tratti 

tracciare, calcare, 

copiare 
il tracciatore 

il punteggiare un 
disegno 

la tela d'architetto 



.SPANISH 

trazar, calzar, ha- 
cer una impre- 
sion 



GERMAN 

nachzeichnen, kal- 
kiren, durchpau- 
sen 



delinear, 
calcar 
el trazador 



trazar, pausen 



calcai', copiar en 
una placa trans- 
parente 

el papel de calcar 



die Vorzeichnerin 

der Umrisse 
die Pause 



die Pausleinwand, 
das Pauspapier 



trasferire, rimonta- 
re, reprovvedere 



transferir, 
tar 



remon- iibertragen 



Trash, camlet 


le camelote 


la cattiva mercan- 
zia, l'opera di po- 
ca entita 


la mala mercancla 


der Kamelott 


Tray 


le easier 


lo scompartimento 


el cajoneito 


der Fachkasten 


Trefoil 


le trefle 


il trifoglio 


el trfibol 


der Klee 


Tresse : see Hair : 










see Plait 










Triangle 


le triangle 


il triangolo 


el triangulo 


der Dreieck 


Triangular (adj.) 


triangulaire 


triangolare 


triangular 


dreieckig 


Trimming, guard- 


la garniture, la pas- 


il guarnizione 


la guarnicion 


der Besatz, die Ver- 


ing 


sementerie 






zierung 


Triple, treble (adj.) 


triple 


triplo, triplice 


triplice, triplo 


dreifach 


Trousseau 


le trousseau 


il corredo 


el equipo 


die Aussteuer 


Truck system, pay- 


le paiement en na- 


il pagare in natura 


el pago en la mis- 


der Lohnzahlung in 


ment in kind 


ture 




ma forma 


Waren 


T-square 


l'equerre 


la squadra, la nor- 


el eartabon, la es- 


das Winkelmass, 






ma 


cuadra 


das Winkeleisen, 
das Winkelholz 


Tucker : see Modes- 


la collerette, le tour 


il collaretto, la gala 


el escote 


der Bruststreifen, 


ty piece 


de gorge 






der Halsstreifen 


Tuft (raised), By- 


le point d'esprit 


la macchia, il fiori- 


el copete 


die Musche 


zantine, Medici 


dessus, la touffe, 


ni, il fiocco, la 






or Florentine 


la mouche, la 


nappa 






eutwork, over- 


houppe 








stitches : see Tas- 










sel: see Cut- 










toorks : see Leaf : 










see Leaf stitch 










Tulip 


la tulipe 


il tulipano 


el tulipan 


die Tulpe 


Turn around or 


tourner, retourner 


girare, volgere 


girar, volver 


umkehren 


back, to ; reverse, 










to : see Double 










Tweezers 


les pincettes 


il pinzette, le mol- 
lette 


las tenacillas 


das Zangclchen 


Twist, to ; simple 


tordre, tortiller 


torcere 


torcer 


drehen 


twist, to 










Twisted (adj.) 


corde -e, tordu -e 


attorto 


rctorcido, torcido 


verschlungen 


Twister (machine) 


le croise-fils 


9 


la maquinilla para 


? 



retorcer hilos 



EXPLANATIONS AND NOMENCLATURE 



G7 



ENGLISH 



FRENCH 



Under, beneath, be- au-dessous, sous 

low 
Undo, to defaire 

Unemployment le chomage, le chau- 

mage 



Unravel, to : see 

Ravel, to 
Untie, to denouer, detacher, 

dfilier 



ITALIAN 

sotto, di sotto, iu- 

feriormente 
disfare 
il sciopero, il scio- 

pro, il tempo che 

se passa senza la- 

vorare 



sciogliete 






SPANISH 



debajo, abajo 

deshacer, desatar 
el desocupado 



GERMAN 



unter 

auflosen 
die Feierzeit 



desligar, desatar, aufbinden 
soltar 



Valance 


la pente 




la balza, il penda- 
glio, il drappelo- 


la gotera 


der Bettkranz 


Valuable (adj.) : 


de grande 


valeur, 


ne 
di gran valore, pre- 


precioso, que vale 


wertvoll, kostbar 


see Expensive : 


precienx 


-se 


zioso 


mucho 




see Rare 












Variety, sort, kind 


l'espece, la 


variete 


la specie, la varie- 
te 


la variedad 


die Gattung, die 
Art 


Vegetable (adj.) 


vegetal -e 




vegetale 


vegetal 


pflanzenartig, vege- 
tabilisch 


Veil, fall 


la voile, la 


faille 


il velo 


el velo 


der Schleier 


Veil (hanging) 


le velum 




il velo, la bandinel- 


el velo 


der Vorhang 


(for the Host) 






la 






Veined (adj.) (rai- 


veine -e 




venato 


venoso, veteado 


geadert 


sed) 












Vertical (adj.) 


vertical -e 




verticale 


vertical 


senkrecht, vertikal 


Vestment 


le vetement 


, l'habil- 


il vestimento, l'ab- 


la vestimenta 


das Gewand, das 




lement 




bigliamento 




Kleid 


Victorian (adj.) 


victorien -ne 


Vittoria 


victoriano -a 


victorisch 


Virgin 


la Vierge 




la Virgine 


la Virgen 


die Jungfrau 



Wadding : see Quilt- 
ing 

Waist 

Warm, tepid (adj.) 

see Hot 
Warp, chain 

Wash, to 

Water 

Watering place, 
spa, summer re- 
sort 

Waves, undula- 
tions, overlap- 
ping loops, rip- 
ples, folds 

Wax 

Wax-cloth : see Oil- 
cloth 

Weaver, worker, 
runner 



Web 

Weight : see Clamp 



1'ouate 



la blouse, le corsa- 
ge 
tiede 

la chaine (fils ten- 

dus) 
laver 
Feau 
la ville d'eau 



des flots 



la cire 



le trameur, le con- 
ducteur, la pai- 
re de remplissa- 
ge 

le tissu, la toile 

le poids, le plomb, 
la pelote lourde 



— w 

l'ovatta, la bamba- 
gia, l'imbottitura 

la blusa 

tiepido, tepido 

l'ordito, la catena 

lavare 
l'acqua 
l'acque, i bagni 

l'anella 



il tessitore 



el entreforro 

la blusa 

calido, tibio 

la urdimbre, la te- 
la, la cadena 
lavar 
el agua 
el balneario 



la onda, la ondula- 
cion 



la cera 



el tejedor, el traba- 
jador 



il tessuto, la tessi- el tegido, la tela 

tura 
il peso, el piombo el peso 



die Wattierung, die 
Baumwollwatte, 
die Fiillung 

die Taille 

warm 

der Weberzettel, 

die Kette 
waschen 
das Wasser 
das Spaa 



die Kriiusel 



der Wachs 



das Schusspaar, 
der Weber 



das Gewebe 
das Gewicht 



G8 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



ENGLISH 


FRENCH 




ITALIAN 


SPANISH 


GERMAN 


Wet (adj.) : see 


mouill6 -e 




bagnato, umido 


mojado, humedo 


nass 


Dampen, to 












Wheel: see Out- 


la roue 




la ruota 


la ruedecilla, la 


das Rad 


line, to: see 








rueda 




Winding ma- 












chine 












Whip, to: see Over- 












cast, to 








/ 




White (adj.) 


blanc, blanche 




bianco 


bianco 


weiss 


Whole stitch, dou- 


le point entier 


, le 


il punto finito 


el punto completo 


der Ganzschlag, der 


ble pass, whole 


point matte, 


le 






Doppelschlag, (2 


throw, gimp, mat, 


toile, la double 






Halbschliige) 


math 


passee 










Width 


la largeur 




la larghezza 


la largueza, la lar- 
gura 


die Weite 


Wimple (nun's), 


la guimpe, la 1 


jar- 


il soggolo, la gor- 


la toca, el grinon 


der Brustschleier, 


gorget: see Guim- 


bette 




giera, la benda 




der Wimple, das 


pe 










Brusttuch 


Wind, to ; hank, to 


pelotonner 




aggomitolare 


devanar, reducirlo 
a ovillo 


kniiuelenbilden, 
wickeln, aufwic- 
keln 


Winder, reel 


le devidoir 




Farcolaio, il guindo- 
lo 


el aspa 


die Garnwinde, die 
Garnhaspel, der 
Haspel, die 
Zwirnwinde 


Winding 


l'enroulage 




1'aggomitolare 


el ovillar 


das Wickeln 


Winding machine, 


le devidoir, le 


bo- 


il guindolo, il arco- 


la enrrolladora pa- 


die Wickelmaschine 


bobbin winder, 


binoir 




laio, il avolajo di 


ra palillos 




lace turn, wheel 






fuselli 






Window shade : see 


le store 




la persiane, il pa- 


el transparente 


der Fensterschirm 


Curtain 






rasole, il legno 






Wood 


le bois 




il legno 


la madera 


das Holz 


Woof, weft (shut- 


la trame 




la trama 


la trama 


das Gewebe, der 


tle thread) 










Einschlag, der 
Eintrag der Warf 


Wool 


la laine 




la lana 


la lana 


die Wolle 


Work, opus 


l'ouvrage 




il lavoro 


la obra, el trabajo 


die Arbeit 


Work bag 


le sac a ouvrage 




il sacco 


el saco de labor 


der Arbeitsbeutel 


Work basket 


la corbeille a 
vrage 


ou- 


la paniera de lavo- 
ro 


la cesta, la canasta 


der Arbeitskorb 


Work box 


la bolte a ouvrage 


l'astuccio da lavoro 


el costurero, la caja 


die Arbeitsschach- 










de labor 


tel, das Zwirn- 
kiistchen 


Worker : see Wea- 












ver 












Workroom : see 


l'atelier, l'ouvroir 


il lavoratorio, la 


el taller 


die Werkstatt 


Factory : see 






bottega da la- 






Studio 






voro, l'officina 






Worsted, yarn 


le fil de laine, 
laine filee 


la 


la lana filata 


el hilo de lana 


das wollene Garn 


Wrongside, back 


I'envers 




il rovescio 


el reves 


die Riickseite 


Yak 


la yack 




l'iaco 


el yak 


? Yack 


Yard 


le metre (39 Eng- 


la jarda 


la yarda 


die englische Elle 




lish inches) 










Yarn-holder, bangle, 


le bracelet 




il s m a n i g 1 i o, il 


el brazelete para 


die S p a n g e , der 


bracelet 






braccialetto, il 
anello da poise 


hilo de lana 


Garn Haspel 


Yoke, chemisette, 


1'empiecement 




1'empiecement, il 


el peto de blusa, el 


das Achselstiiek 


dickey, gorgias : 






devanti d ' u n e 


frente de blusa 




see Collar 






blusa 
il zigzag 






Zigzag : see Steps, 


le zigzag 




el ziszas, el zigzag 


der Zickzack 



Chapter IV 
RULES FOR MAKING 

"The whole value of lace as a possession depends on the fact of its having 
a, beauty which has been the reward of industry and attention. That the thing 
is itself a price — a thing everybody cannot have. That it proves, by the look of 
it, the ability of the maker; that it proves, by the rarity of it, the dignity of 
its wearer. ... 7/ they all chose to have lace, too, if it ceases to be a price, it 
becomes, does it not, only a cobweb? The real good of a piece of lace, then you 
will find, is that it should show, first, that the designer of it hath a pretty fancy; 
next, that the maker of it had fine fingers; lastly, that the wearer of it has 
worthiness or dignity enough to obtain what is difficult to obtain, and common 
sense enough not to wear it on all occasions." — Ruskin. 



LINEN OR CLOTH STITCH JOINING BANDS. 

The rule for making linen stitch or cloth stitch is : — cross, twist, cross. 
The quarter inch bands in this sampler are made of six hanging pairs and a 
weaver. i 

The half-inch bands are made of twelve pendant pairs and a weaver. 
The one inch bands are made of twenty-four pairs and a weaver. 



69 



70 
□= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE A, COL. 1, 

/ 

Net Stitch, Lattice Ground, Demi-Point, Toile Ouverte, Point Reseau. 





For this first sample twenty-four pendant bobbins and a weaving pair are 
needed. It is made entirely of simple half-stitch, for which the rule is twist, 
cross. This operation is repeated from left to right across the top row, then 
from right to left across the one below, and so on until one reaches the bottom. 
By making the same stitch a second time at each edge; that is, by repeating it 
after placing the edge pin, before starting the next row below, the edge can be 
made firmer. 



□= 



-□ 



RULES FOR MAKING 



71 

=□ 



LINE A, COL. 2, 

Virgin Ground, Pin Check, Pink Check, Ornamental Ground, Binche, Cinq 

Trous, Point Carre. 





This is the Variation of Virgin Ground, generally known as Cinq Trous, 
belonging originally to Binche Lace. Each motif or block requires four pairs, 
two of which enter at the upper left-hand corner, two at the upper right. To 
make the upper left-hand ornament, twist and cross. The upper right-hand 
ornament is made in the same way. Two center pairs, one coming from the 
left and one from the right, are twisted and crossed. A pin is placed at the 



n- 



:□ 



72 A LACE GUIDE FOR MAKERS AND COLLECTORS 

a === 



=□ 



LINE A, COL. 2— Continued, 

Virgin Ground, Pin Check, Pink Check, Ornamental Ground, Binche, Cinq 

Trous, Point Carre. ' 

center top and is closed by twisting and crossing. This is repeated at the center 
left, center right and center bottom. The ornaments at the lower left and lower 
right are now made as they were above by twisting and crossing without pins. 
At the edge of the lace, the ornament is made before tying the threads or 
entering a cloth-stitch band, and is again made after coming out from the cloth- 
stitch band. If the above instructions are followed, every pair will have been 
twisted once before it intersects another pair. 

The essential difference between Cinq Trous and Virgin Ground is that 
the ornaments of the former are more open, making the corner holes more 
prominent, as they are only twisted and crossed, while the Virgin Point orna- 
ments are twisted, crossed, then again twisted and crossed. 

Another method of making Cinq Trous is that of following a zigzag line 
running downwards from right to left, the points of which occur at the middle 
top and center base of each little solid block of Cinq Trous filling, the maker 
using only two instead of four pins; that is, omitting the two side ones. At 
the beginning of each zigzag, after baving twisted the threads and made the 
cloth-stitch, one places a pin without closing it. To descend one step of the 
zigzag stairway, one makes a half-stitch with the two left-hand pairs, a similar 
half-stitch with the two right-hand pairs, next twisting the threads and making 
a linen-stitch with the two pairs now lying nearest the center. At this point one 
places the next or second pin without closing it. To remount a step, one puts 
aside the two pairs at the right of the pin, taking up two new pairs at the left, 
and with these two new ones and the two directly left of the pin, one repeats 
what one did in descending the stair. One leaves two pairs aside only at the 
foot of a step. At the base of the whole stairway, after having finished the 
stitch and having placed a pin, one again makes a complete stitch without 
removing the pin or using another, to finish off; exactly as though one were 
about to redescend ; and it is well to see that the big bars or bands of solid and 
open Cinq Trous are parallel in both directions. 



a ==P 



□= 



RULES FOR MAKING 



73 

=□ 



LINE A, COL. 3, 
Malines, Mechlin, Ijsgrond, Fond de Glace, Eisgrond. 











f*Wi 



•m 



It requires eight pairs to make a Malines mesh, two pairs on each vertical 
side of the mesh braided three times. The two innermost pairs, one from each 
braid, are now twisted twice each and coming together, form a new braid for 
a lower or succeeding mesh. The meshes thus formed are six-sided, having two 
braided sides and four twisted ones. 



-□ 



74 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



o= 



=□ 



LINE A, COL. 4, 
Trude "A" Ground (original) (American.") 





Each mesh requires seven pairs. One should always cloth-stitch with the 
two pairs that descend, no matter from which direction they come, before passing 
or laying them — without cloth-stitching — between the two threads of the pair 
that traverses the lace horizontally. A pin should be placed between the two 
descending threads under the horizontal pair to sustain the joint and avoid 
confusion. Every pair should be twisted once between stitches, except in the 
center of the large open star, where each bar or ray of the star should be 
twisted twice. 



□= 



— □ 



RULES FOR MAKING 



D' 



75 



LINE A, COL. 5, 

Star Mesh, Double Ground, Point de Paris, Point de Six, Eternelle, Point 

Double, Trenne, Chantilly, Fond Chant, Engelsche Grond, 

Dentelle de Grammont. 




This pretty and durable stitch is made in the same way as that described 
under Line C, Column 5, except that each pair is twisted once before every 
encounter, and a pin is placed beneath each cross to support it. The actual 
stitch is a linen-stitch. 



□ r 



-□ 



76 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



P= 



=□ 



LINE A, COL. 6, 
Point du Mariage fait a la Torchon au Demi-Point. 




rafl 



Each motif in this case requires two parallel, vertical pairs and two inter- 
secting, diagonal pairs. The point of their intersection comes between the two 
parallel, vertical lines. Each time that the worker, coming from the upper left- 
hand, traverses another pair, whether a vertical or another diagonal, it and its 
mate are twisted and crossed once. A pin is placed and they are twisted and 
crossed to close it. The weaver coming from the upper right-hand, and the 
two parallel pairs, do likewise wherever they encounter other pairs. The pins 
should not be removed until the work is finished, as the threads pull easily. 

This mesh is quickly made ; but does not wash well. See Line A, Column 5. 



a- 



□= 



RULES FOR MAKING 



77 



LINE A, COL. 7, 
Square-meshed Valenciennes of Honfleur (braided 1 or IVsj times). 




Each mesh requires four threads to a side. These threads are braided 
once between joints. The two pairs which, after the tressing, are at the inside 
next each other, now cloth-stitch and the joint is supported by a pin. The 
right-hand one of the pairs is twisted once after the joint, but the pair going 
towards the left remains untwisted before entering the new plait. The two 
outside, hanging pairs of the braid are, however, twisted once before they enter 
into the new braid below, which is the beginning of a new mesh. Thus only the 
interior pairs linen-stitch, and the two outside pairs, which are twisted once, 
hang idly while the cloth-stitch is made. This joint is spoken of by some writers 
as being braided once, and by others as being braided one and a half times ; the 
discrepancy of description being caused by an extra cross in the braiding, for 



=D 



78 A LACE GUIDE FOR MAKERS AND COLLECTORS 

cf— — — ■ ■ - a 



LINE A, COL. 7— Continued, 

Square-meshed Valenciennes of Honfleur (braided 1 or \\'» times). 

immediately after and immediately before each joint, there must, in square 
Valenciennes, be a cross. If one braids by crossing, twisting: then the cross 
must be added at the end. If one plaits by twisting, crossing: then a cross 
must be made at the beginning, after the joint is finished. It is less confusing 
to work across the lace in a horizontal line. One can make the right-hand braid 
which is about to enter into the joint, placing the right-hand pair astride a pin 
to keep the plait from coming undone: then making the left-hand tress, and 
with these bobbins in the hand, finish the joint. This method can be reversed 
when one is working in the opposite direction. Then holding the two center pairs 
firmly in hand, one can detach the right-hand pair, pull all into shape and 
place a pin. 

This Valenciennes is strong, clumsy and very slow to make. 



D D 



RULES FOE MAKING 



79 



LINE A, COL. 8, 
Devonshire Pin Filling. 






if 











.:! 






1 

*4 






MKuamMSk 

*.i:i:&SI.!ufe 

ijCVMKIiSfei 

**■:»■*:■:■: *p 

§iil?:p$j:i 



■•••■ 

9:. 



This is an easy, pretty jour. The outworks are placed alternately below 
each other. At the bottom of a cutwork a pin is placed, when the pairs are 
twisted three times, cloth-stitched through each other, and again twisted three 
times going in opposite directions, but horizontally, towards the tops of other 
points d 'esprit or leadworks. At the top of a new cutwork, the pairs entering it 
cloth-stitch. Here a pin is placed and the pairs, after being twisted three times, 
are ready to form the new leadwork, which must be made long enough to reach 
the pin hole below. 



□= 



zD 



80 

□= 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



-a 



LINE A, COL. 9, 
Devonshire Four Pearl Filling. 









n||| 



IP 

to 
















This filling is worked diagonally in sets of four pearl pins joined by four 
braided bars. Bach bar requires two pairs, and should be made long enough 
to reach from the bottom of one set of picots to the top of the next set. At the top 
of one of these motifs, one takes the inside couple on the left, twists it three 
times ; puts up a pin in the top hole ; passes one of the weaver threads around 
the pin from the right to the left ; and its mate from the left to the right ; then 
twists the pair once and closes the pin by making a linen-stitch with the outside 
couple. The two central pairs, one from the upper left and one from the upper 
right, now cloth-stitch and twist once. The two right-hand pairs linen-stitch 



Q= 



RULES FOB MAKING 81 

a — p 



LINE A, COL. 9— Continued, 

Devonshire Four Pearl Filling. 

and another picot is made at the right-hand pin hole in the same way as at the 
top, and the pin is closed by cloth-stitching the picot pair with its mate and 
twisting them once. The left-hand pearl pin is made in the same way. Then 
the two center, bottom pairs, each one already twisted once, linen-stitch. Next 
the two right-hand pairs cloth-stitch and the inner pair of these two makes the 
fourth picot. These two pairs continue downwards toward the right, braiding 
until they meet the next motif. The two left-hand pairs are also plaited until 
they meet another set of pearl pins at the lower left. 



n D 



82 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE A, COL. 10, 
Devonshire Diamond Filling. 






imp 

Jiiitf 






nliff 






:!!'«l 






After finishing the oblong cutwork, each pair is twisted three times and 
each cutwork is supported by a pin placed in the two upper of the four holes. 
This division leaves a pair of bobbins outside of each pin with two couples 
together in the center. These two upper, inside pairs linen-stitch through each 
other, and a pin is placed between them to support the joint, when they are 
twisted three times. They then continue downwards in their respective direc- 
tions; one to the right and one to the left; and here each one linen-stitches 
through the pair it meets coming from the cutwork above, when each pair is 
again twisted three times. The two pairs now at the center, cloth-stitch through 
each other and are twisted three times. Here the two lower side pins are placed. 

One is now ready to make the long, rectangular point d 'esprit, diagonal 
bands between the attractive, middle five hole, diamond openings. These cut- 
works are made in the usual way: but are about twice as long as the standard 
square point d 'esprit. 



=D 



RULES FOB MAKING 



83 



LINE A, COL. 11, 
Trude "D" Ground (original) (American). 







Two pairs to a joint are required for this pattern, which, is made on the 
diagonal, with two pins placed right below each other forming a double joint. 
The two threads coming from the upper left-hand are twisted twice and those 
coming from the upper right-hand are twisted twice. The two center bobbins are 
crossed and a pin placed below. The pairs are again twisted and crossed, and 
another pin placed, which is closed by twisting and crossing. 



□= 



=□ 



84 A LACE GUIDE FOR MAKERS AND COLLECTORS 

a - =p 



LINE A, COL. 12, 
Trude "G" Ground (original) (American). 




Three pairs or bars enter at each upper side of the diagonally tipped squares. 
Each of these six bars is twisted three times between squares. Every other 
square is made of cloth-stitch, and every other one is grilled instead of being 
solid, each pair twisted once between the linen-stitches. The squares are thus 
alternated. A pin is placed below each one to sustain it : but. no others are used. 



Q= 



=0 



D= 



RULES FOR MAKING 



85 

=D 



LINE A, COL. 13, 
Trade "I" Ground (original) (American). 










IV« 



feg 




i**^*? 








Twenty-one pairs were used in making this sample, the horizontal pair 
going from left to right, then back, and so on, as a weaver. Each line on the 
pricking represents two threads twisted. The long diagonal, vertical and hori- 
zontal pairs are twisted four times; the short vertical and horizontal pairs are 
twisted once. The vertical and horizontal threads weave through each other 
with a linen stitch each time they intersect. 

The diagonals in the small squares are not twisted, as the former twisting 
holds over. The diagonal threads entering the small squares at their right- 
hand upper corners are placed under the vertical and horizontal pairs without 
a stitch. The diagonal threads entering the small squares at their left-hand 
upper corners are placed over the vertical and horizontal pairs without a stitch. 



a= 



-□ 



86 A LACE GUIDE FOB MAKERS AND COLLECTORS 

D ' ■ 



LINE A, COL. 13— Continued, 

Trude "I" Ground (original) (American). 

At the bottoms of these tiny squares, the diagonal threads that enter at the 
left, leave at the right by passing under the other threads. The diagonals that 
come from the right go out over the vertical and horizontal ones without a 
stitch, so as to prevent their slipping either up or down or from left to right. 
At the centers of both the large and small squares, the two diagonal pairs 
intersect and weave through each other with a linen stitch. These intersections 
should be supported with a pin. 



a === = a 



RULES FOR MAKING 



87 



LINE A, COL. 14, 
Trentino 







ri i", 



■As** +Zz~~s:±^ -SJ* ^ts?-:^ wmsiul. r 



SSft T-uBiS 













It requires two pairs to make each wheel or roue, aud eight pairs more to 
fill each spider. Linen-stitch and half-stitch spiders should be alternated. The 
wheel pairs are twisted twice between the pairs they cross, and each pair just 
inside of the wheel, or just outside of the body of the spider, is twisted twice. 
Two spider legs enter at the extreme top, two at each upper side, and two at 
one side. Two legs leave horizontally at the opposite side from which the two 
pairs enter, two leave at each lower side, and two at the bottom. In the linen- 
stitch spider filling, the two top spider legs enter and leave in the opposite 
direction from the two pairs entering at the side, so that four pairs weave 
towards the right through the four pairs that weave towards the left, making 
an even square. In the half-stitch spider body, the upper pair entering at the 



□= 



=0 



88 A LACE GUIDE FOR MAKERS AND COLLECTORS 

D C 

LINE A, COL. 14— Continued, 

Trentino. 

upper side is used as a weaver, and crosses to the center of the opposite side, 
taking in the two legs entering there. It then returns to the center of the first 
side, taking in the remaining upper side pair; then it weaves to the lower part 
of the opposite side. This makes three cross threads. One must be sure that 
it is really the two wheel or encircling pairs that meet at the bottom. One 
braid stitch is made at the bottom after the wheel is finished, between the left 
wheel pair and the spider leg pair to the left of it, and between the right-hand 
wheel pair and the leg to the right of that. One is then ready to start the 
spider right below. The entrance and exit of the horizontal side legs make it 
necessary to make one row of spiders from the left to the right and the row 
below from the right to the left. A short, horizontal braid is made between 
spiders; also a diagonal braid connections of lower legs from one spider cross- 
ing over downwards through a reverse braid to become the upper legs of the 
spider one row diagonally below. 



a- 



CF 



BULES FOE MAKING 



89 
=□ 



LINE A, COL. 15, 
Triangular, Fan-Shaped Points d'Esprits or Cut Works. 







r^sjT'».»;i--. : . '••i : i~:-"b- :-'i- ^7* '■'■-■ -- 



: £«3 



It requires four threads to make one fan, and the fans are woven exactly 
as outworks or leaves are, but started wide at the top and gradually tapered to 
a point at the bottom. At the foot of one fan and the top of another, one should 
make sure that the two entering threads at the right and at the left are twisted 
round each other, so that two independent threads will not be seen bridging 
between triangles. The top of the new fan should be supported by two pins 
spread as far apart as the triangle is to be made wide. Another pin should be 
placed under the finished apex at the bottom of the triangle. 



□= 



=□ 



90 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



=0 



LINE A, COL. 16, 
Abruzzian Mezza Cambruccia. 





i. ^t • ♦ • 
*► «i V «£ % 

S^r «^tf WV w 

£ «£ ^' >•* » m' «^I< 




;:;:•<* .^' „W „• . ,-r _• - «* ; ; 





It requires four threads to make each one of these spiders. Two pairs 
twisted once enter at the left-hand top of the spider and two pairs twisted once 
enter at the right-hand top of the spider. This spider is made as the ordinary 
spider is : but the centers should be arched by pulling the outside threads tighter 
than the inside ones, and holding the inside ones up in the air while working 
around the pin. This arched shape can be better preserved by placing a support 
pin just at the base of the spider. The two pairs that leave the spider going 
towards the left are twisted once and enter the spider next below towards the 
left. The two threads leaving at the right are twisted once and enter the spider 
just below on that side. 



Or 



=□ 



RULES FOB MAKING 



91 



LINE A, COL. 17, 
Trude "N" Ground (original) (American). 




:«ir «y fa** *4P i^r . 
sf &? i * £ € fip 

if* V W W W*** 

■'y*P f £P 1&P VAT Mi 

sir *<A' r A* WW V= 




Each tiny triangle requires four threads. In making these, one completes 
a whole line from left to right, then the succeeding line from left to right, as 
this secures the two suspension or scaffold threads of the triangle before pulling 
and again using the weaver. At the top of each triangle, whether at its broad 
or its pointed end, one should give two twists to the two framework threads 
that are about to enter into the cutwork to prevent their stringing out and later 
appearings as loops. The worker and its mate should be twisted once or twice 
as is convenient before beginning a new point d 'esprit. At the small end of 
the cutwork, between an upper and a lower triangular spot, the twice-twisted, 
horizontal band pair, cloth-stitches through the cutwork pairs, each of these 
latter pairs being considered as one thread so as not to spread the point of the 



□= 



92 A LACE GUIDE FOB MAKERS AND COLLECTORS 

D - 



LINE A, COL. 17— Continued, 

Trude "N" Ground (original) (American). 

triangle. This passage should be supported by a pin. When the cutwork below 
is begun, the pin should be removed as soon as possible, otherwise the weaver 
will leave a loop around it. When starting the broad end of a triangle, one 
should place pins at the top of it to hold apart the threads. When finishing at 
the broad end, pins should be placed inside the two pairs to hold them apart 
and support the work. These pins have to be replaced when the line below is 
worked, but after all they are only supports and helpers. No knotting of the 
cutwork is necessary, as the next triangle follows so closely that it holds the 
joint in place. At the open centers of the stars between the outworks, where 
the three twice-twisted pairs meet, the weaver or worker cloth-stitches through 
one to hold in its twists, and is then just laid between the other two threads 
coming from the opposite direction, each of these threads just passing around 
it, clasping it, but not working through it, to avoid making a bulky joint. 



a= 



□= 



RULES FOE MAKING 



93 

=0 



LINE A, COL. 18, 
Fond de Neige, Punto di Neve. 








This pleasing little ground requires only four pairs to each mesh, two 
coming from the upper left, and two from the upper right-hand. Each pair is 
twisted twice. They are then ready to cloth-stitch through each other to form 
the little solid squares, which, when finished, can be supported at the base by 
pins. For example, using the inner, upper left-hand pair as a weaver, one 
should linen-stitch through the two pairs coming from the upper right. One 
should then do likewise with the remaining upper left-hand pair, which finishes 
the dot. 

See Line B, Column 18. 



D- 



=□ 



94 

□= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



=D 



LINE B, COL. 1, 
Tulle Du Puy. 



, «;-"**' -»>««5«t.,,; ;■•»*»*, -~" ,, »-.-";;" *MP*' 




This net is made by twisting once, then crossing, twisting and crossing, 
placing a pin and closing it by crossing, twisting and crossing. This mesh is 
made on the diagonal ; is very simple, and as the strands are interlocked, it is 
much firmer and less apt to shift than Torchon Ground, for which it can gen- 
erally be substituted. 



;□ 



RULES FOR MAKING 



□= 



95 

=□ 



LINE B, COL. 2, 
Virgin Ground, Ornamental Ground, Fond de la Vierge, Point Carre. 






•■ 4 



£t£fl£fl$- 



& 







Vf 



J. I*-, 



* 



fa 










This is the plain, ordinarily used Virgin Ground. Four pairs and four 
pins are required for the making of each square; two pairs enter at the upper 
left to form the upper left-hand ornament, which is made by twisting once and 
crossing, and twisting once and crossing without pinning. The same is done at 
the upper right-hand corner. The two center pairs, one from the right and one 
from the left, now twist and cross : a pin is placed at the center top, and is closed 
by twisting once and crossing. This stitch is repeated at the center left, the 
center right and the bottom; then the two lower ornaments are made, just as 
the two top ones were, without pinning. These lower ornaments serve as the 
upper ones for succeeding squares below. 



=D 



96 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE B, COL. 3, 
Brussels, Droschel, Vrai Reseau (fait sans epmgles), Drochel. 




3 -•. la- 






See Line C, Column 3. 

Brussels hexagonal ground requires four pairs to each stitch, the two 
vertical sides of the stitch being braided four times. The braided pair of each 
plait, now towards the center, is twisted twice ; and the two pairs being brought 
together, form a new vertical plait. Thus each mesh is sis-sided, having two 
braided and four twisted sides. 

This ground, having one braid more than Mechlin, is slightly more open. 



=□ 



RULES FOR MAKING 



97 



LINE B, COL. 4, 
Trude "B" Ground (original) (American). 




'..w. M*WiSittv£sIrii!£*: 




This ground, requires five pairs to each mesh. The pendent pair is twisted 
once between stitches. At the star-center where the three pairs traverse each 
other, none of them are twisted, but the two diagonal pairs should linen-stitch 
and be placed or laid between the two threads of the horizontal pair. Here 
one should place a pin between the diagonal pairs, under the horizontal one, to 
support the joint and serve as a guide. The horizontal pair should be twisted 
twice in the long space that occurs above and below the star-centers, between 
vertical pairs. 



D= 



98 

□= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE B, COL. 5, 
Lattice Ground, Gekreuzter Gittergrund (3 twists). 



•..#• 



;~ • I '•'- '.:'.':;'--":;?■'.'•'-' •■■-; : t'™J" 








Four pairs are required iu making this stitch, two that fall vertically and 
two which run diagonally. The joints formed hy the weaving of the oblique 
pairs through each other should be supported by pins. The vertical pairs are 
twisted three times between intersections; the diagonal pairs once. All joints 
are formed by cloth-stitching. 



-□ 



RULES FOR MAKING 



99 



0= 



-D 



LINE B, COL. 6, 
Twice-twisted Virgin Point — mit zweimal gedrehtem Schlusschlag. 













Two pairs enter each motive or block at the upper left-hand and two at 
the upper right-hand. Each square requires eight pins. The four ornament, 
or corner pins, are placed thusi ; then the central stitches inside of 



the ornaments are held in place by pins placed thus • 

The two pairs entering at the upper left-hand are twisted twice and crossed. 
Here a pin is placed and closed by twisting twice and crossing. This is the 
upper left-hand ornament. The same process is repeated for the upper right- 
hand ornament. Now the two center pairs, one from the left and one from the 
right, are twisted twice and crossed. A pin is placed at the center top and 
closed by twisting twice and crossing. This stitch is repeated at the center left ; 
that is, twisting twice, crossing, placing a pin and closing it by twisting twice and 
crossing. The same is done at the center right and again at the center bottom 
with the two middle pairs. One is now ready to make the lower, left- and right- 
hand ornaments. These done, one has only to twist the pairs twice in order to 
make the centers of the squares below; for the lower ornaments of one square 
serve as upper ornaments to succeeding squares. 



100 

□== 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



: 



LINE B, COL. 7, 
Square-meshed Valenciennes of Ghent or Gand and Menin (braided 2 or 2 ] /2 

times). 




See Line A, Column 7. This Valenciennes is made in the same way, except 
that the sides of the meshes are braided two or two and a half times, the joints 
being made in the same way as those of Honfleur. 



=D 



BVLES FOR MAKING 



CF 



101 



LINE B, COL. 8, 
Devonshire Cushion. 




Four pairs are required for each motif: two pairs at the upper left and 
two pairs at the upper right cloth-stitch, are twisted three times, pinned and 
closed with a linen-stitch. "When all four couples have been worked up to this 
point, the two outside ones are twisted three times and hang idly while the 
leadwork is being made, waiting to join in again below it. The two inside pairs 
are each twisted once and proceed to make the outwork. After it is finished, 
they are again each twisted once and cloth-stitched through the two outside 
couples which have been awaiting them. A pin is placed below each of these 
joints and the pairs are twisted three times and closed, ready to continue. 



zD 



102 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-D 



LINE B, COL. 9, 
Devonshire Hexagonal Bar Filling. 





Each bar requires two pairs, but at the joint four pairs are worked together. 
Here the threads are used double, two bobbins being passed over two others, so 
that the stitch made is identical to that made by only half the number. At this 
intersection the pairs should be crossed and twisted and again crossed and 
twisted. Now the couples divide, two working to the right and two to the left. 
Each one is now twisted and crossed three successive times. The pairs nearest 
the pin holes are twisted three times. One thread is put around the pin from 
right to left and its mate from left to right, when the pair is twisted once and 
re-enters the braid. The braid is made by twisting and crossing three successive 
times. Then a second pearl pin is put up; and the braid again twisted and 
crossed three times. 



a= 



J3 



□= 



RULES FOR MAKING 



103 



LINE B, COL. 10, 

? 










«*■ 






. I"* St Ji ^*"^ lfc ** 






1?^ 

[if 
- 





5*855 

K *— *^ •IB ' <V 











-'*<•'•■• aS>^ ^.SK. . -*. . ^»*„i_ 



There are two pairs in these vertical bands, besides the weaver. The latter 
is twisted three times around each winkie pin. Each pair that enters into the 
cutwork (the weavers from the two sides) is twisted once before entering the 
points d 'esprit. But the cutwork weaver should be twisted twice after the lead- 
work is finished before cloth-stitching through the band to the other side. This 
filling is worked from the left to the right, as the left-hand cutwork must be 
finished before the one slightly below it to the right can be begun. 



=□ 



104 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



~-Q 



LINE B, COL. 11, 
Trude "E" Ground (original) (American). 




Two pairs to a joint are required for this pattern, which is made on the 
diagonal, with two pins placed right below each other forming a double joint. 
The two threads coming from the upper left-hand are twisted twice and those 
coming from the upper right-hand are twisted twice. The two center bobbins are 
crossed and a pin placed below. The pairs are twisted twice and crossed and 
another pin placed, which is closed by twisting twice and crossing. 



=□ 



BVLES FOB MAKING 



105 

— Q 



LINE B, COL. 12, 
Dice Holes, Slanting Hole. 







I it *'"**' 




Wi 




IP 



ill 



w 



w 



ll 



W 



ili 



Sii 



This is a cloth-stitched ground alternated with a grilled ground. The con- 
ductor runs back and forth from left to right, and then from right to left hori- 
zontally through the pendant pairs : but the opened and closed squares themselves 
are placed obliquely; that is, their sides or margins are on the diagonal. The 
solid and open parts are made by linen-stitching: but in the open parts both the 
worker and the pairs it traverses are twisted twice. In starting an open grill, 
there is first one open square, the next time three grilled squares, then five, next 
seven. Then one decreases similarly. There is thus one hole at each side, left 
and right; one at the top and bottom center and seven holes across through the 
middle whether counted vertically or horizontally. 

In this connection it may be interesting to refer to Line D, Column 14 and 
Line H, Column 16. 



□= 



106 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE B, COL. 13, 
Point de Tresse with Plain Picots in Lower Joints. 



:jt'T;:;..u';V.-i5:5:?ir;:.-.- : ' -."■■.-•:«i-:v. • -*j;: 
:"<»k.l" !' • ; "~ _ "" - A.W ;; i .2:!: 




This sample requires twenty pairs, four to each braid. 

The picot just below the lower joining of each two braids, is made with 
the left-hand thread in the same manner as usual. The threads should be 
twisted before they are crossed, as crossing would push the picot up the side 
of the braid. The braids then intersect each other with a linen-stitch. 



D= 



-U 



□= 



RULES FOR MAKING 



107 

==□ 



LINE B, COL. 14, 
A Spotted Italian Ground. 











































— n — 




















; — \ 























This pretty ground is very quickly and easily made. 

Pour passive or vertical pairs besides the weaver are required in the making 
of each spot. These four pairs are each twisted once. The two center ones 
then cloth-stitch and are twisted once : a pin is placed and closed by linen-stitch- 
ing; and these two central pairs are again twisted once. One pair now works 
towards the left and one towards the right, each cloth-stitching with a remaining 
vertical pair. A pin is here placed between the two left-hand pairs, and another 
pin between the two right-hand ones, all four are again twisted once, and 
are now ready to be cloth-stitched four times by the working pair. The spot or 
dot pairs are not twisted again until the weaver has woven through them four 
times. 



;D 



108 A LACE GUIDE FOR MAKERS AND COLLECTORS 

LINE B, COL. 14— Continued, 
A Spotted Italian Ground. 

The weaver works all the way across the lace from one side to the opposite 
edge , then back j without being twisted either between dots or in traversing them : 
but the conductor can be twisted twice, if one wishes, at the edge of the lace 
beyond the outermost columns of spots. 

The bottom or end of the circle is completed in the same way only reversed, 
that it is begun — by placing a pin below the last line of the weaver between the 
two left-hand pairs of the dot, and another pin between its two right-hand pairs ; 
then by twisting each pair once, cloth-stitching the two left-hand ones and cloth- 
stitching the two right-hand ones ; then twisting each pair once more, linen-stitch- 
ing the two that are now in the center, twisting them once, placing a pin, closing 
it by a linen-stitch, again twisting these central pairs once, so that they may be 
ready to linen-stitch through the other two pendent pairs. 



D O 



□= 



RULES FOR MAKING 



109 



LINE B, COL. 15, 
Fat, Maltese Petals, Leaves, Seeds, Grains, Wheat Ears, Paddles 




mM 







m 



Wmim 



Each leaf is made of four threads woven as are the ordinary Cluny petals ; 
but made very fat or wide, even though one leaf overlaps another. A little prac- 
tise enables one to produce even edges. 



D= 



=D 



110 

0= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE B, COL. 16, 
Abruzzian or Pescolane Cross Pattern. 





This pattern is the same as Line A, Col. 16 — Mezza Cambruccia — except 
that between an upper row of spiders and the row beneath it, each pair of threads 
leaving one spider passes obliquely through two other sets of threads before en- 
tering a lower spider. Thus little, hollow, diagonal squares or double crosses are 
formed between spiders. The two pairs of threads that leave the lower right- 
hand end of an upper spider pass obliquely to the right into the left-hand upper 
end of the next spider just below to the right, and vice versa. Each of these pairs 
of threads is twisted once between intersections with other pairs of threads. 



D= 



RULES FOB MAKING 



111 

=□ 



LINE B, COL. 17, 
Trude "O" Ground (original) (American). 








Hi 



is 



hum 










Iff? 






The linen is four pairs wide ; the grille only two. Each pair is twisted once 
in the grille work. A supporting pin should be placed between threads at im- 
portant junctions to help one find the place, and to keep the line straight ; but 
should not be left in place more than one line back, or one cannot pull up the 
loose, spread threads which the pins leave. The twisted pairs spread or push the 
cloth-work away from them, and this pushing inward of the linen must be 
specially guarded against on the long sides. Where the grille and cloth edges 
meet, the margin pair always belongs to the linen. 



D= 



112 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



=D 



LINE B, COL. 18, 
Moulinet. 











This ground was originated by Mme. H. H. de Juillien and took a prize at one 
of the leading expositions in Milan. 

Sixteen pairs are required for the making of each mesh, as two braids enter 
at the upper left and two at the upper right of each little solid square. In making 
these squares, one must be careful to spread out one 's threads in order to prevent 
the appearance of a hollow streak in the center of the square. In weaving this 
solid dot, one cloth-stitches the innermost pair of the inner, upper, left-hand 
braid through the pairs of the two right-hand braids. Then one uses the other 
pair of the inner, upper, left hand plait and again linen-stitches down through 
the right-hand pairs. One can now reassemble the two pairs of the upper, inner 
left-hand tress and begin a new one sloping towards the right below the solid 
square. Returning to the upper left-hand, one uses first the inner and then the 



RULES FOR MAKING 113 

i a 

LINE B, COL. 18— Continued, 

Moulinet. 

outer pairs of the remaining braid as weavers, cloth-stitching them successively 
through the four pairs coming from the upper right. This done, the solid square 
is completed and can be supported at its base by a pin. 

The braids should not be made too long or they will buckle up or out. Loops 
or picots occur at each side of the center of every plait to relieve the straightness 
and stiffness of the lattice background. The picots here shown are the plain, 
ordinary ones, but knotted picots can be used instead should one prefer. 

Those picots used in this sample, which fall to the right of a braid, are made 
by using the rightmost thread of that plait, placing a pin under it with the point 
towards the left, raising the point downwards towards the right over the thread, 
and sticking the pin into the indicated dot on the pricking. To prevent a gap in 
the braid, one should make the picot immediately after twisting, and should 
recommence the tress by twisting, pulling the threads up tight. The picot on 
the left of the braid is made by using the leftmost thread, holding the pin in 
the left hand, placing its point downwards towards the right under the thread, 
bringing it downwards, up over the thread, towards the left and into the 
indicated pinhole. 



n . , - n 



114 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



=D 



LINE C, COL. 1, 
Plain Hole Ground, Torchon, Reseau Stitch, Einfacher Locherschlag 




]A&h:&mim 



WBskL i-m 



This very simple net ground is made by twisting and crossing, and placing a 
pin. The pin is closed by twisting and crossing. The mesh runs obliquely. 



□= 



J3 



RULES FOR MAKING 



115 



LINE C, COL 2, 

Scotch Broom Stitch, Point Jesi^et oa Genet, Ziergrund mit 

Schragstreifen-Mostertiog. 



C 

* ■ . 



ikSUR! 






This requires three pairs. One enters, divides, and becomes one of the two, 
long, parallel lines. A second pair divides, and forms the other of the two, par- 
allel lines. Then a third pair enters at the upper left. This stitch is made from 
right to left by twisting and crossing once each time. The little bars or barrettes 
between the two, double bands of parallel lines are made by twisting three times. 
When one reaches the edge of the lace on the left, the pairs have to be knotted and 
cut off unless they form part of a long, continuous pattern made by the French 



0= 



116 A LACE GUIDE FOR MAKERS AND COLLECTORS 

□ r ■ q 



LINE C, COL. 2— Continued 

Scotch Broom Stitch, Point Jeunet ou Genet, Ziergrund mit 
Schragstreifen-Musterung. ' 

method. The worker entering at "1" intersects a parallel line by twisting and 
crossing, and continues towards the left, twisting and crossing through the 
second, parallel line, then twisting and crossing with the barrette that enters at 
"2." Here a pin is placed and closed by twisting and crossing. As one descends 
towards the right, one intersects by twisting and crossing ; a pin is placed at " 3 " 
and closed by twisting and crossing, which leaves a barrette pair hanging towards 
the right ; this is twisted three times and is now ready to enter the set of lines 
in the band below. Then one works to the left towards "4-," where another bar- 
rette enters from above. 



D= 



RULES FOB MAKING 



D= 



117 



LINE C, COL. 3, 
Brussels, Droschel, Vrai Reseau, Point d'Angleterre Net, Drochel. 






ti&ssm 




H 










I 



See Line B, Column 3. 

This mesh, made with the support of pins is, in the hands of an amateur at 
least, much more regular and pleasing than when pins are not employed. The 
ground requires four pairs to each stitch. Commencing with the vertical side, 
one braids twice — thus making a whole-stitch. A pin is then placed and closed 
by the repetition of the two plaits or whole-stitch. This finishes one vertical side. 
The other vertical side is made in the same way. After these two are finished, one 
can begin the two lower oblique sides. One pair should be taken from each braid 
■ — the pairs which lie nearer the center. These should each be twisted twice, and 
should then be brought together in position for forming the next vertical braid. 
One thus produces a six-sided mesh with two braided and four twisted sides, the 
latter coming at the top and bottom of the mesh; the plaited edges, at the two 
sides. 



rD 



118 

a— 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE C, COL. 4, 
Rose Ground, Scandinavian Ground, Point du Mariage, Gelosia, Tulle Double. 









Rose Ground is practically the same as the small-meshed Tulle Double, except 
that the pins are differently arranged so as to make a more open mesh. 

The pairs are twisted twice and crossed, then pinned, again twisted twice, 
and crossed to close the pin. 

A stitch is made between the pairs one and two, and a pin placed at three. 
Then a stitch is made with the pairs four and five and a pin placed at six, then 
a stitch is made between the pairs seven and eight, and a pin placed at nine, et 
cetera. "When one has reached the end of this row, one starts again at the upper 
right, using the pairs ten and eleven, placing a pin at twelve. Then using ten 
and twelve, placing a pin at thirteen ; then using three and thirteen, placing a 
pin at fourteen ; then using three and fourteen, placing a pin at fifteen, et cetera ; 
leaving one pair hanging after each stitch. Every pin is closed without exception. 



D= 



=□ 



□= 



RULES FOB MAKING 



119 

=□ 



LINE C, COL. 5, 
Old Buckingham, Fond de Milan. 



-:?==7r 7; ?flf *;irr ' :•* " :Tr : ri? ?= : ! t s Jfrj ---•"- : ***iv. 




Each stitch requires four pairs, and none of them should be twisted. One 
should work from the right to the left all the way across the piece, cloth-stitching 
each pair as one encounters it, working the cross and the passive pairs in a diagonal 
line descending towards the left, momentarily considering the pair that comes 
from the right as a weaver. A pin should be put through the center of each 
cross. Then one should return in the other direction, weaving the pears that 
should now be hanging ready. 



D= 



=D 



120 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



'-Q 



LINE C, COL. 6, 
Slavonian Style Virgin Point, "Point a la Vierge" nach Slavischer Art. 




>. • .0. ; .< 

O.L&. 

>■<>.< 



This form of Virgin Point requires four pairs and two pins to each motif 
or block. One pin is placed at the center top ; the other at the center bottom. The 
upper, left-hand ornament should be made with the two pairs that enter at the 
upper, left-hand ; twisting once, crossing, twisting. The same is repeated at the 
upper, right-hand corner. Then the two center pairs are taken, one from each 
ornament, twisted once and crossed. Here a pin is placed and closed by twisting 
and crossing once. The two pairs, which are now at the left, are twisted 
and crossed once. The same is done with the two pairs at the right. The same 
is repeated with the two pairs now at the center, that is, one from each side. Here 
another pin is placed and closed by twisting and crossing once. The two, lower 
ornaments, one at the right and one at the left, are now made by twisting, crossing 
and twisting once. These two lower ornaments serve, of course, as upper ones 
for squares that are to follow. 



zD 



RULES FOB MAKING 



0= 



121 



LINE C, COL. 7, 

Square-meshed Valenciennes of Courtrai and Menin (braided 3 or SYz times). 






•••■•r.ttt 






: *■* 











See Line A, Column 7 and Line B, Column 7. The Valenciennes of Courtrai 
and Menin is made in the same way as that of Honfleur, except that the sides are 
braided three or three and a half times. 



D= 



=□ 



122 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-D 



LINE C, COL. 8. 
Devonshire Brick, Mignonnette. 






[ <»jC3I]iZ3C*!j» 




m 



<•_« 



3**^* 



•••■■a 

litis!' 






M-dwf^ahtnUm 



- aam-»ms-s4m 



v.'.'.<l; 






g» 






S«® 



« 







The pricking for this is the same as that for the Devonshire Cushion Filling, 
Line B, Col. 8, but instead of every alternate square having a point d 'esprit, each 
one is filled, which makes a closer and more elaborate mode. That is, the pairs 
which lie idly in Cushion Pilling, are here employed to make other points d 'esprit, 
side by side to the others. Below outworks at each end of them, the pairs are 
twisted once ; cloth-stitch ; a pin is placed ; the pairs are twisted three times ; are 
closed by linen-stitching and are twisted once ready to form the cutworks directly 
below them. 



O- 



=a 



RULES FOR MAKING 



123 



LINE C, COL. 9, 

Devonshire Double Ground Pin. 




a 

a a 

□ 




This easy, dainty, net-like filling is made by twisting every pair three times 
between encounters. Two pairs at the upper left and two at the upper right 
cloth-stitch and are twisted three times. A pin is placed under each joint. The 
two couples now at the center, cloth-stitch and are twisted three-times. No pins 
are put up here. Then one pair to the left and one to the right, linen-stitch 
through the pairs they meet at the left and right respectively, and are twisted 
three times, but no pins are placed under these two joints. The two center pairs 
now linen-stitch and are twisted three times, when they recommence the stitch 
and are supported by pins. Thus four pins are used to a complete motif, placed 
under the joints of the four outer arms. The pricking shows four little squares, 
each corner of which is marked by a pin-prick. 



a= 



zO 



124 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE C, COL. 10. 
Devonshire Winkie Pin Bars and Outworks. 




n-I/In 



This ground is made in almost the same way as the Bohemian Edged Devon- 
shire Bars and Outworks, Line D, Col. 10. There are two differences; one lying 
in the edge of the bar and one in the direction of the leaf zig-zags. In Line D, Col. 
10, the different bands of petals have been made in parallel lines. In this ground 
the zigzags have been made to wave in opposite directions. The edges of the 
vertical bars in this sample require only five pairs, as the same weaver continues 
throughout, being twisted twice around the winkie pin. 



D: 



=□ 



RULES FOR MAKING 



125 



LINE C, COL. 11, 
Point de Paris, Fond Clair, Fond Chant (Palliser). 




This niesh is made with three instead of six threads, the weaver being a single 
thread One can begin by hanging a pair of bobbins over a pin at the right, using 
one for a weaver on an upper line, the other for the line next below ; then tying 
them off together around the two pins at the left border. In twisting the 
verticals, one should work from the left to the right margin, thus alternating 
with the direction in which the weaver works, one coming, the other returning. 
The vertical or diagonal pairs should be twisted together three times at their 
point of intersection, and a pin placed beneath the joint to support it. Then the 
worker weaves from the right to the left, passing under the right-hand diagonal 
thread without twisting, and twisting thrice with the left-hand oblique thread. 



=□ 



1L>6 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE C, COL. 12, 
Trude "H" Ground (original) (American). 




Three pairs enter at the upper left-hand cornex*, and three at the upper right- 
hand corner. The ground is entirely made of half-stitch : but it is twisted twice 
outside of every pin to reinforce it. Beginning at the upper left-hand corner, 
with the left pair as conductor, one weaves through the middle and right-hand 

pairs, pins, closes, works to the lower left of the little, corner ornament ~jT 
Then works toward the right again, entering the big square. The upper right- 
hand ornament is made in just the reverse way, starting thus \ from the 

right, and working towards the left to meet the weaver of the opposite ornament. 
They meet at the center top of the large square. Here a pin is placed, each 



=D 



RULES FOR MAKING 127 

D q 

LINE C, COL. 12— Continued 

Trade "H" Ground (original) (American). 

pair twisted twice, and the pin closed. Each weaver works back towards its own 
side, through two, pendant pairs and is pinned and closed at its side of the large 
square. Then the weavers work towards the center bottom ; meet and go out into 
the two little square ornaments: the right-hand weaver now becoming the 
upper left of the succeeding, large square and therefore doing what was before 
done to make the upper left ornament. It leaves the large square, works towards 

the right is pinned and closed, ] t /"- works towards the left, is again pinned and 

closed, and proceeds into the next large square. The opposite, corresponding 
weaver does just the reverse. 

This ground would not wash well. 



zD 



128 

□= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE C, COL. 13, 
Point de Tresse with Plain Picots in Side Joints. 













fca%^g 




Pour threads are required for each braid. The plaits and joint are made 
as usual. If the picots are made before the joint, they push up onto the sides 
of the plaits above the exact intersection. Therefore, they should be made im- 
mediately after the joint, and the braiding which follows should be full and tight 
so as to push the picots up into place. These are the ordinary picots, one made 
to the left with the outside, left-hand thread and one to the right with the 
outside, right-hand thread. Twist both pairs after finishing the picots. 



d= 



=□ 



□= 



RULES FOB MAKING 



129 

=□ 



LINE C, COL. 14, 
An Italian Spider with Eye. 



Wf 




MM 



• III. •• 

"..»• '»» 

• fit) J, 
«M« II 

3ft2 8WS;r 



K30 

|>s as «bS &F 






{Hi ^Rtf^H^PW" Ha r/ 




Four pairs enter about the top of each spider, two acting as outside or en- 
circling pairs. These two cloth-stitch through each other at the top of the spider, 
one then working towards the left, the other towards the right. These same pairs 
meet again at the bottom of the spider, linen-stitching through each other to 
finish it. The other two pairs that enter just below the top, one coming from the 
upper left, one from the upper right, cloth-stitched through the outlining pairs 
and meeting each other just inside of them, linen-stitch through each other and 
then pass out of the spider again in the same manner as they entered. Two 
other pairs do likewise in the lower part of the spider's body just before the 
encicrcling pairs re-meet, thus forming two small crosses inside of the spider, 
one at its upper, one at its lower end, leaving a hole or eye in its center. The 
spider should not be made too long, and its body should be supported at each 
end by a pin. There is no twisting inside of the spider-body, nor are its edges 
twisted. 

But outside, every pair is twisted twice before intersecting every other pair 
that it meets ; and it traverses all of these by linen-stitching. 



=•□ 



130 

□== 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE C, COL. 15, 

Thin Cluny Petals, Leaves, Armelle, Armeletta, Grains, Seeds, Wheat Ears, 

Paddles. 




These petals are made like those of Line B, Col. 15, except that they are at- 
tenuated in form. 



-o 



RULES FOR MAKING 



131 

=□ 



LINE C, COL. 16, 
Abruzzian Lescatelle. 





This is the same as line B, Col. 16, or Abruzzian Cross Pattern, except that 
it requires six pairs to make each spicier, and that between spiders the three 
pairs leaving an upper left-hand spider cross diagonally through the three pairs 
of threads leaving the next nearest right-hand spider. 



□= 



=Q 



132 



A LACE GUIDE FOR. MAKERS AND COLLECTORS 



LINE C, COL. 17, 
Trude "P" Ground (original) (American). 




The pairs are twisted four times and crossed and one must be careful to 
take up the correct pairs. The pins are not closed. On one horizontal line a pair 
works across towards the right, twisting four times and crossing as it goes. 
"When it returns, it weaves from the right towards the left. This reverse action 
tilts the circles slightly first to one side, then to the other. The horizontal pair 
always works with the very next hanging pair it encounters. Between the hori- 
zontal lines, wherever two pendant pairs meet each other, they are interwoven 
with the same four-twist-and-ci - oss stitch. 



=D 



RULES FOR MAKING 



□- 



133 

=□ 



LINE C, COL. 18, 
Genoese Grilled Six-leaved Marguerite. 





Each leaf or petale requires four pairs. Every pair is twisted once between 
intersections. One pair serves as a weaver and is fastened Winkie Pin fashion 
— that is, outside the leaf around a pin, the same pair continuing as weaver. 
There are three pins on each side of every leaf. After the last passage or inter- 
weaving of the conductor nearest the center of the "Marguerite," each pair 
including the weaver, is twisted once ready to make the "Marguerite" or daisy 
center. Here, if two leaves intersect, they do so like two Cluny braids, two 
pairs used as one single thread. If three intersect, the two top diagonal ones 
cloth-stitch like two Cluny braids, and a pin is placed ; then the third horizontal 
leaf, cloth-stitches through these upper two, each two upper pairs being used 
as one single thread. The pin is now removed and replaced below the triple 
intersection, and is closed by again cloth-stitching the eight diagonal pairs, using 
two pairs as one thread. 



□= 



-□ 



134 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



OF 



Z Q 



LINE D, COL. 1, 
Twisted Hole Ground, Tulle Double, Maglia di Spagna. 




This net is easy, strong and dainty. Is made by twisting twice and crossing, 
placing a pin, and twisting twice and crossing to close it. 



=□ 



□= 



RULES FOR MAKING 



135 



LINE D, COL. 2, 
Flemish, Trolle Kant, Fond Armure, Spinnekop. 




One of these meshes requires six pairs like the six legs of a spider, two at 
the left, two at the top, and two at the right. The body is made by means of 
half-stitch. A pin should be placed at the top and the bottom of each spider 
between the central legs. One begins below the top pin by making a half-stitch. 
Then the right-hand leg traverses with a half-stitch all the right-hand pairs, 
and the other leg all the left-hand pairs. Then one returns to the two central 
pairs making another half-stitch, and again traversing for the second time all the 
right-hand and all the left-hand pairs. One then returns to the center and does 
this a third time. Then to finish the body one half -stitches with the two pairs 
now at the center and places a pin below them. Now one uncrosses the two legs 
at the left and the two at the right, which should be twisted only and not crossed 
between one spider and the following one. Only the central legs begin and end 
with a full half-stitch. 



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136 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE D, COL. 3, 
Droschel de Bruxelles, Drochel. 




••iiim.iiiW-iJ 




The principle of this mesh is the same as that described under Lines B and C, 
Column 3 ; except that at the top and bottom there is only one twist, and that 
the sides are twisted and crossed six times. 

This is not the usual Drochel de Bruxelles. 



□= 



=□ 



D- 



RULES FOB MAKING 



137 

=Q 



LINE D, COL. 4, 
A Flemish Filling', a Lille Mode. 



:^Pl&fllS^ 
KiPJiw^S 



* 



iSHi^s 



%*7< 





&31 



r^ 




This is made in almost the same way as Line C, Col. 4, ' ' Rose Ground, Scan- 
dinavian Ground, Point du Manage, Gelosia, Tulle Double," except that the 
pins are so arranged as to make the mesh more circular, less elliptical ; and that 
the pairs are twisted three times before each crossing instead of being twisted only 
twice. 



138 

Q= 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



-D 



LINE D, COL. 5, 
Plain Lattice Ground, Filet, Einfacher Gittergrund. 



ess; 

m 










l's;:S« 






I 



$®iii*e£ 






•I::! 



W 



:•':'< 



Ml 








«i ::■ 






--■:: 







Every pair is twisted three times between intersections. The joints are made 
by linen-stitching. A pin should be placed in the center of each joint and left 
there until the corresponding joint on the line below is ready to be pinned. The 
upper pin should then be removed in order to prevent leaving a hole; but 
it is necessary to use pins in order to preserve the alignment of the threads, which 
must be pulled well into place. 



n- 



=□ 



RVLES FOR MAKING 



□= 



139 



LINE D, COL. 6, 

Ornamental Ground with Striped Effect in Diagonal Squares, 
mit Streifen-Musterung in Karo-Einteilung. 



Ziergrund 




The two pairs entering the upper, left-hand ornament are twisted once, 
crossed and twisted once. The two pairs entering the upper, right-hand orna- 
ment are treated in the same way. The two pairs now at the center, one from the 
left and one from the right, are twisted once and crossed. Here at the center 
top a pin is placed and closed by twisting once and crossing. The pairs lying 
upon the pillow may now be considered in their order from left to right as 
first, second, third and fourth. The third and fourth pairs are twisted once 
and crossed. A pin is placed at the center right and closed by twisting and 
crossing. Then the third and second pairs are twisted and crossed without 
pinning. Then the second and first pairs are twisted once and crossed; a pin 
is placed at the center left and closed. Then the second and third pairs are 
twisted once and crossed ; a pin is placed at the center bottom and closed, and one 
is ready to make the lower ornaments as they were made above. 



□= 



=□ 



140 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



D= 



=D 



LINE D, COL. 7, 

Square-meshed Valenciennes of Bruges, Ypres and Alost 
(braided 4 or 4Vss times). 







•:■ -■ ■■■• . ---j.7-".V.- :.;:.'.i:. - jr_'. !,:_:.:.- 




See Line A, Column 7, Line B, Column 7 and Line C, Column 7. The 
square-meshed Valenciennes of Bruges, Ypres and Alost is made in the same 
way as that of Honfleur, except that the sides of the meshes are braided four or 
four and a half times instead of one or one and a half times. This " Val" ground 
is more open and clear than the three mentioned above, throwing any pattern 
worked upon it into greater contrast and distinction. Tbe mesh described under 
Line E, Column 7 forms an even clearer background. 



D= 



J3 



RULES FOR MAKING 



141 



LINE D, COL. 8, 
Devonshire Taunton 



1 










1 



S-: 






After making the leaf-shaped outwork, a pin should be placed to support it 
and the pairs twisted three times. They each cloth-stitch, and are twisted three 
times, one going to the left and one to the right, where they meet pairs coming 
from other petals, through which they linen-stitch. Pins are here placed, the 
pairs twisted three times ; the pins closed ; the pairs again twisted three times. 
Each pair now travels back to its own original line of vertical petals. At the top 
of the leaf, its two pairs meet and cloth-stitch. The joint is supported by a pin ; 
the pairs are twisted three times and are ready to begin a new leaf. 



=□ 



142 

Q= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-P 



LINE D, COL. 9, 
Trude "C" Ground (original) (American). 










Three pins are placed, one directly above the other, through the centers of 
the squares, and one pin to each side. The first three support three small 
crosses; the fourth and fifth, that is, the two to the side, support large crosses. 
Beginning directly above the top center pin ; that is, the uppermost of the three, 
the pairs are twisted twice and crossed; a pin is placed. The pairs are then 
twisted once and crossed; a second pin is placed and the pairs are twisted 
twice. Crossings are then made with the pairs at each side ; pins are placed under 
these long crossings to support them, and one is now ready to twist twice and 
begin over, the third pin at the bottom and the first pin at the top of a motif 
being the same. 



D= 



=□ 



RULES FOB MAKING 



143 

=□ 



LINE D, COL. 10, 
"Bohemian Edged" Devonshire Bars and Cutworks. 







:\: 

:/ 

:\ 

■ / 

: \ 

:■/ 

:\ 



■/ 

\ 
/ 
:\ 
\/\ 

•A 

\ 
■/ 
!:\ 



is±/z 



\- 
/- 
V 

si 

/:• 
V 
/; 
^: 
/5 

\: 
/: 

\- 

'/% 
V; 

/'■ 



Six pairs are required for each bar, and two couples for each band or zig- 
zag of cutworks. The center or solid part of the bars is made by linen-stitching. 
At their edges the weaver is twisted twice, cloth-stitched through the outside or 
edge, pendant pair, which has already been twisted twice, and hung outside of 
the pin : the former, pendant pair turning inwards and becoming the new weaver, 
is twisted twice before it enters the solid part of the braid. The leaves or petals 
are made in the usual way. At the point where they touch the braid, the leaf 
pair next to it, cloth-stitches in and out of the braid, a pin being placed in the 
center of the stitch to hold both the braid weaver and the leaf. 



=□ 



144 

□= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE D, COL. 11, 
Tulle Double or Redina Point de Paris Variation. 













VV V -.. 



§ 



5 



■ x v V v * 



*X*X* 



All the threads should be twisted twice between stitches. Where the diagonal 
threads meet after having been twisted twice, the two inner ones should be 
crossed, a pin placed, the pairs twisted twice, closed by crossing, and again 
twisted twice, ready to cloth-stitch through the horizontal threads, which should 
also be twisted twice. 



=D 



n= 



RULES FOE MAKING 



145 



LINE D, COL. 12, 
Torchon, Russian or German. 




This is a scrawny-looking ground, which does not wash well. 

The ground is entirely made of half-stitches. Three pairs enter at the 
upper left and three at the upper right. Pins are placed at the top, bottom and 
two sides of the large shaded square, and at each corner of the small squares. 
The part of the pattern that is worked over the little square — at the upper left- 
hand corner of the big, shaded square — is begun by weaving from the left 
towards the right through the middle and right-hand pairs, placing a pin and 
closing it, returning towards the left through the same pairs to the lower left- 
hand corner of the little ornamental square, around a pin there which is closed, 
towards the right to the top center of the big, shaded square. Another ornament 
is made in the same way reversed at the upper right of the big, shaded square. 
Thus one weaver from each side meets and crosses at the top of the big dark 



146 A LACE GUIDE FOB MAKERS AND COLLECTORS 

a c 

LINE D, COL. 12— Continued 

Torchon, Russian or German. 

square. Here a pin is placed and closed. After passing this pin, one weaver 
hangs at the left, the other goes to the right, half -stitching through the remaining 
pairs until it reaches the right-hand center pinhole, which is closed. One now 
works through the pairs hanging at the left, straight across to the left hand 
center where a pin is placed and closed. Then one works back towards the right 
to the center pin at the base of the large, shaded square. The pairs are now 
ready to make the little ornaments, which, though they are below the particular 
large, dark square upon which one has been working, are above large squares 
which are to follow ; so that from here on the rule duplicates. 
See Line C, Column 12. 



D =D 



RULES FOR MAKING 



147 



LINE D, COL. 13, 
Point de Tresse with Plain, Side Picots. 







-.:■■ 



These braids are made iu the usual way, aud of course must not be made 
too long. The picots are made in the ordinary way ; that is, by using the right- 
most thread for making the right-hand picot, placing a pin under the thread 
with the point downwards towards the left, raising the point downwards towards 
the right over the thread, and sticking the pin into the indicated dot on the 
pricking. To prevent a gap in the braid, one should make the picot immediately 
after twisting, and should recommence the tress by twisting, pulling the threads 
up tight. The picot on the left of the braid is made by using the leftmost 
thread, holding the pin in the left hand, placing its point downwards towards 
the right under the thread, bringing it downwards, up over the thread, towards 
the left and into the indicated pinhole. 

"When interweaving the braids through each other, one should make a cloth- 
stitch, using two bobbins as though they were one, and supporting the joint 
by a pin. 



=D 



148 

Q= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE D, COL. 14, 
An Italian Filet with Toile Dots. 







•^'•••••••222!22£S- 




E ! !?f**»***2» i «22i22tf;i 



;^2fS22*«« fl *»2ii 



X. 




x: 




XI 




±_ 
















































































































jj 


N 



Four pairs enter at the top of the dot and the weaver traverses it in cloth- 
stitch twice from the right and twice from the left alternately, working all the 
way from one side of the lace to the other through both twisted grille and linen- 
stitch dots. Each pair should be twisted once in making the grille. Pins are 
used only at the encountering edges as supports, or to guide one so as to avoid 
confusion. They should be placed in the middle of the cloth-stitch — that is, 
one thread above, one below, and one each side of the pin. 



D= 



=D 



o= 



RULES FOR MAKING 



149 



LINE D, COL. 15, 
Double Picots. 




These cannot be made on both sides of a braid at the same spot, as that 
would leave an ugly hole in the plait, so one must make all the picots either 
towards the upper or towards the lower side of the tress. In this sample they 
are made downwards, towards the lower side. The pins holding the picots 
should be pricked right into the line of the braid, not to one side, as that would 
pull the plait to one side, out of plumb. Two of the braid threads are used 
for making the picots — the two that fall conveniently towards the lower side. 
The right-hand thread is wrapped first under, then over the pin; the left-hand 
one first over, then under the pin. The pin can be placed in the hole, and first 
one thread, then the other wrapped around it. 



□= 



-□ 



150 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE D, COL. 16, 
Abruzzian Piscitelli. 




Two pairs make the long, vertical spider or fish (as the name indicates) 
bodj', which is not twisted except at the two ends. It is made of cloth-stitches 
like a spider, but is not pulled up around a central pin as is that animal. The 
weaver or horizontal pair cloth-stitches all the way across the lace in one direc- 
tion, returning in the other, passing four times altogether through the bodies 
of each parallel band of fish. The fish come directly below one another. The 
working pair is twisted once between fish, but is not twisted while passing 
through their bodies. At the top and bottom of the band, above and between 
the passings of the weavers, at the beads and tails of the fish, the two fish pairs 
are each twisted once, cloth-stitched through each other and again twisted once, 
in readiness to enter and form the fish directly below. It is well to hold these 
bodies in line by supporting the cloth-stitches above the fish by pins, which are 
not, however, closed, but which should be removed when the next crossing is 
made, so that the threads may be pulled up tight, leaving no conspicuous open- 
ings. 



a= 



=□ 



□= 



RULES FOR MAKING 



151 

=□ 



LINE D, COL. 17, 
Trude "Q" Ground (original) (American). 




Each pair is twisted twice between outworks. Pins are used only for sup- 
port. The horizontal line which traverses the ground between the outworks — - 
that is, the one touching the point d 'esprit diamonds at their lower and upper 
tips— is cloth-stitched with the pair, which in the cutwork just finished was the 
weaving thread and its mate, thus securing the weaver ; but is only laid between 
the two threads of the pendant or scaffold pair, in order to keep the joint as 
small as possible. At the foot of each open diamond, the two hanging pairs 
cloth-stitch through each other before meeting the horizontal pair. The cutwork 
weaver should be left unmistakably longer than the other threads for at least 
several stitches after the lerdwork is finished, or it may be inadvertently pulled 
and ruin a point d 'esprit made some way back. 



o= 



=□ 



152 A LACE GUIDE FOR MAKERS AND COLLECTORS 

a — ~ 



LINE D, COL. 17— Continued 

Trade "Q" Ground (original) (American). 

Pour threads are required for each cutwork. In starting at the top of a 
solid diamond, one proceeds in the usual way to make a triangular or fan-shaped 
point d 'esprit. See Line A, Column 15. When the center side is reached, how- 
ever, one exchanges the two left scaffolding threads for the two outside ones 
— which have first been twisted twice — that are found hanging directly to the 
left. A pin is placed between the two pairs to support their linen-stitch joint, 
and the two outgoing pairs are twisted twice to help keep the formation firm. 
At the center of the right side of the solid diamond, the weaving thread and its 
mate should be twisted once before cloth-stitching to avoid showing a long, loose 
thread. This pair is then exchanged hy linen-stitching through its right-hand 
neighbor from the outside, and a pin is placed beneath the stitch. When making 
the exchange at the center of the sides, the two left-hand threads of the cutwork 
must be woven and secured before the two right-hand threads, laying the weaver 
meanwhile across some pins above, and taking it down only when' ready to 
exchange it. The two new pairs now entering at the right side, now make the 
lower half or triangle of the diamond. Here at the bottom of the solid fomi, 
one can pull and wind all the bobbins evenly ; not so at the sides. After working 
the weaving pair through the bottom of an open diamond to the right of its 
former position, the threads should be very gingerly pulled into a smooth twist, 
not touching or coaxing the weaver until the other threads are right, then using 
this pair again as the weaver for the next cutwork below at the right. 



a - □ 



RULES FOB MAKING 



OF 



153 



LINE D, COL. 18, 
Trude "S" Ground (original) (American). 




:''-*s*t*tiiih-&:: %&\ 



Each of these star formations consists of six equilateral triangular points 
d'esprits or outworks, which are held in place by a pair of twisted, horizontal 
threads that pass first to one side, then back to the other along and between 
the horizontal tops and bases of these outworks, never through their apeces. 
The horizontal pair is twisted three times between intersections or encounters, 
and cloth-stitches through the points d'esprits pairs. Under the horizontal, 
twisted pair and between the left-hand pendant threads of the cutwork at its 
broad base, a pin is temporarily placed. Another one is put inside but not 
between the two right-hand threads. After the three scaffolding threads have 
been pulled into place, any loop or irregularity left by the weaver should be 
carefully drawn out. 



=□ 



154 A LACE GUIDE FOR MAKERS AND COLLECTORS 

g - q 

LINE D, COL. 18— Continued 
Trade "S" Ground (original) (American). 

In finishing a cutwork, whether at its bottom or at its apex, the weaver and 
its mate should be tied once with a granny knot; first, to prevent slipping, and 
second, to make the point sharp and small. Keep the weaving thread long to 
distinguish it and to avoid accidental pulling. Pins must be used between the 
upper and lower apeces, where they meet, to hold the upper triangle until the 
one just below is made. The three framework threads should then be pulled 
until the pin hole is closed. 

It may be found helpful to lay the weaver across two pins up out of the 
way of the work until one is again ready to use it. 



□ =a 



RULES FOB MAKING 



155 



LINE E, COL. 1, 
Tulle de Dieppe. 



..'.V 







m 




This net is obtained by twisting the pairs three times, crossing, placing a 
pin and closing it by crossing. It is made on the oblique. 



□= 



=□ 



156 

□= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



z o 



LINE E, COL. 2, 
Petits Pois de Dieppe 







t&m. 






£ 4k i 



tsi 





These spiders are made in the usual way ; see Line IT, Column 2 ; the two 
center top pairs, however, are twisted three times and then cloth-stitch, having 
a pin placed above the joint before entering the spider. At the bottom of the 
spider the two center pairs, after making the joint, have a pin placed directly 
below. Thus there are two pins between spiders vertically above each other. 
The side spider legs are also twisted three times. 



C\- 



=□ 



□= 



RULES FOB MAKING 



157 



LINE E, COL. 3, 
Tulle (Bruges?) (2 twists). 




This niesk is formed by twisting two bobbins twice on each side of it, crossing 
their central pairs, placing a pin beneath the cross to support it, and again 
twisting the pair now at the right-hand and the pair now at the left-hand, twice 
each to begin a new mesh. 



a. 



158 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



■-u 



LINE E, COL. 4, 
Plain Torchon Spiders. 










Each spider requires six pairs. In this sample each pair has been twisted 
three times between spiders. Pins are used in the center of the spider bodies 
only. These centers should be raised to give an arched effect. This is done after 
the first half of the spider body is woven, by holding the pairs nearest the pin 
up high and tight against it while closing it, closing the other, outer pairs lower 
down and close to the pricking, and pulling the outer pairs up tight, so that 
the inner ones cannot sink down into them. The spider is made by cloth-stitching 
the three left-hand pairs in consecutive order through the three right-hand 
pairs, putting up a pin, and closing it by cloth-stitching all the pairs through 
each other in the reverse direction. The three legs that came in at the upper 
right of the spider go out at the lower right and form the three upper left-hand 
legs of another spider. 



=0 



a- 



RULES FOB MAKING 



159 

=□ 



LINE E, COL. 5, 
Buratto, Filet. 







llllii! 
mini 



Sliiiil 

lilliil 




I«Ii 



Sliiiil 






This ground has been much used as a network upon which to embroider. 
It is usually woven, but directions are here given for making it with bobbins 
on a lace pillow, should one wish to. 

The vertical pairs are twisted three times between intersections. The single 
horizontal thread is simply laid between them at regular distances and sup- 
ported, at least at every other crossing, by pins, which keep the whole from 
pulling out of alignment. These pins should not be left in long or they will 
spread the twisted threads, leaving holes behind. 



1G0 

□= 



A LACE GUIDE FOE MAKERS AND COLLECTORS 



-LJ 



LINE E, COL. 6, 

Ornamental Ground with Zigzag Diagonal Stripes, Ziergrund mit 
Streifen-Musterung in Zacken-Einteilung. 




This Virgin Point is made fundamentally the same as the Ornamental 
Ground with Striped Effect in Diagonal Squares, Line D. Column 6, only the 
two pairs leaving the bottom of the square or block instead of intersecting each 
other, are separated. The upper pair, working upwards to join by a half -stitch 
the lower pair of the block above; and the lower pair, intersecting by means 
of a half-point, the uppermost pair of the square below. Thus the block is 
pulled apart into a zigzag. It is best to make the squares as one works down- 
wards from right to left, and then make the ornaments as one reascends from 
left to right. At the edges, where certain pairs are lacking, the stitches should 
be made as much as possible like the others, proceeding in the same way. 



□= 



=□ 



RULES FOB MAKING 



□= 



161 



LINE E, COL. 7, 
Square-meshed Valenciennes of Alost and Ypres (braided 5 or 5Yz times). 




See Column 7, Lines A. B, C and D. The mesh of Alost and Ypres is made 
in the same way as those described above, except that the sides of the mesh are 
braided five or five and a half times, producing a peculiarly distinctive and 
clear-cut ground. 



d= 



162 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE E, COL. 8, 
Devonshire Second Swing Filling. 







*«*. 

:.'« 



"V 




This stitch is apt to look slovenly unless it is carefully made. 

After a eutwork has been finished, a pair from the left, twisted three times, 
cloth-stitches through the lower, left-hand pair of the eutwork, also twisted 
three times; the pairs are again twisted three times; a pin is placed and closed 
by linen-stitching. Here the pairs are once more twisted three times. The 
left-hand pair enters the lower eutwork; the right-hand pair works towards a 
new circle on the lower right. This filling is made from the upper left to the 
lower right : first a whole row of outworks, then a whole row of circles, et cetera, 
alternately. No pins are used for the outworks themselves, but only in the 
circles. The eutwork weaver enters at its upper left and leaves at the lower 
right. 



a. 



=D 



D= 



RULES FOB MAKING 



163 

=□ 



LINE E, COL. 9, 
Devonshire Honeycomb Filling. 




Fifteen pairs were used to make this sample. 

Each pair is twisted between crossings and each crossing is supported 
by a pin, but not closed. The pricking is made on the square, not on 
the diagonal. Two pairs are crossed at the upper right-hand corner and a pin 
is placed below. Then the top of the large opening is made by crossing, and 
here another pin is placed. Then the small space to the left of the large opening 
is made by crossing. In this way one works all the way across from the right 
to the left of the lace ; then recommencing at the right, one makes a row of little 
crosses at the center sides of the small squares on the pricking. The large, long 
crossing at the right must always be made before the almost parallel one at the 
left is started. The long crossings come at the center top and bottom of the 
squares on the pricking. 



164 

a— 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



=0 



LINE E, COL. 10, 
Binche Mode. 




§i & §* & 

?«e it &t «? 



*m 










x: : : : . . 

•X- ■ • 

: : : :*: : 

: : : : : : x 



Six vertical threads and a weaving pair are required for each bar, one to 
the right and one to the left of the zig-zag, and one pair is needed for the 
zig-zag itself; the braid part of which is made in conjunction with a borrowed 
worker, which the zigzag transfers to the bar opposite the one from which it 
was borrowed: borrowing a new worker from the second bar, et cetera. After 
exchanging weavers, one should make two pins' length only of the vertical, cloth 
band before beginning a zig-zag braid, as this furnishes a firm foundation against 
which to pull. The conductors are twisted twice around the winkie pins at the 



P= 






RULES FOR MAKING 165 

3 =U 

LINE E, COL. 10— Continued 

Binche Mode. 

side of the upright bars ; also before and after crossing in and out of the zig-zags. 
The zig-zag makes three braid stitches with its newly borrowed weaver. 

Though this stitch is simple, it is confusing, so the bar should not be com- 
pleted more than two pin holes ahead of any of the rest of the work. The 
uppermost conductors must be exchanged and braided in before the next lower 
pin hole of the opposite cloth bar can be worked. The zig-zag spine always hangs 
between the bars, and two weavers cannot enter two, opposite, cloth bands at the 
same time. The zig-zag pair itself must not be used by mistake for a weaver, 
although the braid pair nearest the bar is always used as the exit conductor. 
One must be sure to twist both pairs twice before uniting a new weaver and 
the spine. 



n • . , n 



166 

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A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE E, COL. 11. 
Point de Paris Variation with Tressed Sides. 







*9M9Mim 




Hh'i 

I 



■Hi- 







The sides of the four vertical pairs should he braided four times; the 
diagonals twisted twice below the horizontal line and twice above it. The weaver 
or horizontal pair is twisted twice between stitches, aud linen-stitches through 
the diagonals. 



D: 



=;□ 



□= 



RULES FOR MAKING 



167 

=□ 



LINE E, COL. 12, 
Torchon. 




This requires the entrance of five pairs at each upper side of the small, solid 
junction-square formed by the crossing of the oblique bands of the design. 
Half -stitch should be used, and the weaver must not be confused, as using the 
wrong pair leaves an ugly hole. The two weavers, one from the left and one 
from the right, meet at "1," the topmost, central, point of the small, solid, 
diagonal junction-square. The right weaver closes the pin, returns towards 
the right and continues as general weaver, going from points 1 to 2, 3, 4, 5 and 6, 
where it closes with the third pair, which again becomes a worker, each weaver 
continuing in its own direction; "4" and "5" are the only pin holes in the 
big, outer, open square that do not connect with something. They are above the 



ft 



zD 



166 

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A LACE GUIDE FOR MAKERS AND COLLECTORS 



--u 



LINE E, COL. 12— Continued 

Torchon. 

lower, central point of the solid junction-square that is formed by the crossing 
of the diagonal bands of the design. 

The ornament in the center of the large, open square is formed by dropping 
a pair out of the oblique bands after closing each pin, two coming out of each 
upper side and re-entering the lower sides of the big square after having made 
the ornament. The ornament requires five pins, closed by half-stitches, each pair 
twisted twice between pins, but not in closing. 



a= 



□- 



RULES FOB MAKING 



169 



LINE E, COL. 13, 
Point de Tresse with Knotted Picots. 




One should use the right hand for the right-hand edge, placing a pin to the 
left under the rightmost thread of the plait, over the thread to the left of it, 
drawing the left-hand thread towards the right, under the right-hand thread, 
pointing the pin downwards and up over the right-hand thread, drawing this 
latter up under the left-hand thread, through the long loop formed between the 
two original hanging threads, bringing the pin out with this right-hand thread 
and placing it in its pricked hole. The bobbins now cross. One should now 
cross the right-hand one of the next pair on the left over the left-hand one of 
the picot pair. 

For the left-hand one does the same reversed, with the left hand, but in 
finishing one should cross the left-hand bobbin over the right and the same one 
on over the left-hand one of the next interior pair. 



□= 



170 A LACE GUIDE FOR MAKERS AND COLLECTORS 

a — = 



LINE E, COL. 13— Continued 
Point de Tresse with Knotted Picots. 

Another rule is, just to twist and cross after making the left and right 
picots the same as for an ordinary one, and to twist before making a picot. The 
author prefers this method. 

When interweaving the braids through each other, one should make a cloth- 
stitch, using two bobbins as though they were one and supporting the joint by 
a pin. 



CF 



RULES FOR MAKING 



171 

=□ 



LINE E, COL. 14, 
Italian Spiders with 4 Twisted, Horizontal Bars. 











The wavy, upright lines of the spider are made of four pairs, untwisted in 
the spider-body itself, though each pair is twisted once between intersections in 
the open part of the pattern. All the joints are linen-stitched. The two pairs 
coming from the upper left cloth-stitch in consecutive order through those coming 
from the right, and a pin is placed to support the upper apex of the spider. 
Then the horizontal pairs weave through the body, and the spider is closed by 
repeating in the reverse direction the process just outlined for beginning it. 
The base of each spider is supported by a pin, and the horizontal pairs are 
also supported by pins where they cross in the center of the spider. Through 
the body proper run four horizontal bands or pairs. These are twisted once 
between spiders and once in the open center of the spider, forming a river or 



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172 A LACE GUIDE FOR MAKERS- AND COLLECTORS 

- --•■■-- -Q 



a 



LINE E, COL. 14— Continued 

Italian Spiders with 4 Twisted, Horizontal Bars. 

open eye. They are not, however, twisted as they weave through the upright, 
wavy pairs. 

The open part of the pattern between upper and lower rows of spiders is 
formed by each of the lower right-hand legs of an upper left-hand spider being 
twisted once and linen-stitched in consecutive order through the lower left-hand 
legs of an upper right-hand spider, which should also have been twisted once. 
But one must not forget to twist those legs again after they have completed one 
linen-stitch and before they begin another, so that each side of the little square 
is twisted once. After this square is completed, each leg is twisted once before 
beginning new spiders. 



RULES FOR MAKING 



173 

=□ 



LINE E, COL. 15, 

Marguerites a Six Petales (one sided joint). 





No. 1 





Each leaf is made of four threads ; — six radiating leaves making one ' ' Mar- 
guerite. " These may be supported by pins here and there at the end of one 
petal and before commencing the next or wherever else it is found convenient. 

These six-leaf joints are necessarily one-sided. The two upper petals being 
finished, cloth-stitch through each other, each pair being used as a single thread. 
Here, if the horizontal petal comes from the left, it cloth-stitches through the 
left-hand four threads which come from the right-hand upper petal. Then a 
pin is placed. The four horizontal threads now cross-stitch again through the 
same four threads they intersected before, which closes the pin. The horizontal 
pairs now form the left-hand lower leaf. The other two pairs which come from 
the right-hand upper leaf, linen-stitch through the remaining two pairs which 
come from the upper left-hand leaf and which now form the lower right-hand 
leaf. "When the horizontal leaf comes from the right-hand side, the method of 
procedure is exactly reversed, as shown in this diagram. The centers of these 
daisies should be raised by holding the pairs next the pin higher than the outer 
ones and by pulling these latter tighter than the inside ones. 



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174 



.1 LACE GUIDE FOR MAKERS AND COLLECTORS 



a= 



-u 



LINE E, COL. 16, 
Trude "K." Ground (original) (American). 




This ground is similar to those illustrated and explained under Column 16, 
Line D ; Column 16, Line G ; and Column 16, Line F. The working pair cloth- 
stitches all the way through each band of fish from the right to the left, then 
back, making four trips altogether. The workers are twisted once between 
bodies, as are also the oblique, passive pairs between linen-stitches: but the 
weavers are not twisted in passing through the actual fish. Not counting the 
heads and tails of the fish, the oblique pairs cloth-stitch through each other once 
between fish, forming one open square below the tail of one fish and the head 
of another. The fish are placed directly below one another. Where the diagonal 
pairs meet to form a fish — that is, at their heads — they linen-stitch and are 
twisted once, the stitch being supported by a pin. The same procedure reversed 
is used to form the tails; that is, the pairs are twisted, a pin is placed and a 
linen-stitch made. 



=Q 



D= 



RULES FOR MAKING 



175 

=□ 



LINE E, COL. 17, 
? 




Each line on this sample represents two threads. In the long spaces, they 
are twisted four times: in the short spaces, once. The joints are made by cloth- 
stitching. A pin is placed in the center of each joint to keep the lines straight : 
but is taken out and used again in the next lower line as soon as that is made, 
to prevent pin gaps. All threads should be pulled taut. 



176 

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A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE E, COL. 18, 

Marguerites a Centre de Toile. 





Four threads are required for each leaf, and four leaves enter each "Mar- 
guerite" or daisy at the top, two at the left and two at the right. After making 
the long, slim petals, the eight left-hand threads cloth-stiteh through the eight 
right-hand threads, forming a small square placed on the diagonal. The four 
threads making their exit at the lower right-hand side of the square become 
the two lower right-hand leaves of this particular linen square, and at the same 
time the two upper left-hand leaves of the square obliquely below. The remain- 
ing eight threads are woven into two lower left-hand petals, becoming in turn 
the upper right-hand petals of a square diagonally below. Pins should be placed 
at the lower ends of the leaves to keep them from unravelling until the little 
square dots are finished. However, when these pins are removed, all holes and 
loops must be carefully pulled out before new petals are commenced. A sup- 
porting pin should be placed below the lower corner of the square to hold it in 
place. None of these pins are closed. 



□= 



RULES FOR MAKING 



177 



LINE F, COL. 1, 
Redina, Maglia di Spagna. 




This net is obtained by twisting three times and crossing, placing a pin, 
twisting twice only and crossing to close. This mesh is made diagonally, and 
is similar in effect and strength to Tulle Double, though slightly more open. 



D= 



zD 



178 

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A LACE GUIDE FOR MAKERS AND COLLECTORS 



-P 



LINE F, COL. 2, 
Les Mille Pattes. 




mm 



■ * • • 



This is a series of spiders made with four pairs of bobbins, each pair twisted 
three times. The pairs coming from the upper left linen-stitch in consecutive 
order through those coming from the upper right. A pin is placed and closed 
by repeating this process in the reverse direction: so that the upper left-hand 
legs of the spider are also its lower left-hand legs, becoming the upper right- 
hand legs of a new spider on a lower line. To raise the centers of the spiders 
one should hold the innermost pairs of the joint somewhat up in the air against 
the center pin, pulling the outer pairs especially tight in closing them, so that 
the inner pairs cannot sink down into them. 

See Line E, Columns 4 and 2. 



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=□ 



RULES FOR MAKING 



179 



Q= 



=Q 



LINE F, COL. 3, 

Tulle Ground, Lille, Filoche, Fond Clair, Fond Simple, Point de Brabant, 
Trolly Net, Tondern, Arras, Marche, Point de Hollande, Dutsche Slag. 




B^gfdHfe-;^'; 



See Line E, Column 3. 

This ground is made by twisting the sides of the meshes three times each ; 
then crossing the inner thread of each pair, placing a pin beneath this joint to 
support it, and again twisting three times the pairs formed at the right and left. 



□= 



=D 



180 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-o 



LINE F, COL. 4, 
Potten Kant, Flemish, Antwerp. 




This ground requires four pairs to each mesh, two entering at the left and 
two at the right, and two correspondingly leaving at the lower left and two 
at the lower right. The two upper left-hand ones cloth-stitch through each 
other before entering the main square of the design : but those at the right have 
already linen-stitched in finishing the preceding square. The conductor or 
weaver comes from the right-hand, cloth-stitching through the two left-hand 
pairs. A pin is placed here at the left of the middle of the side of the solid 
square. The weaver should be twisted once around the pin and cloth-stitch 
back through the two pairs that came from the left ; but in addition, through the 
one waiting at the right. Another pin is placed at the right of the square 
opposite the first pin. The conductor is twisted, returns towards the left with- 
out pinning and finishes the square. Each square requires two pins directly 
opposite each other, causing the weaver to run a little uphill in returning from 
the left toward the right. The solid squares follow each other diagonally, the 
workers always travelling from the right towards the left, and one pair always 
working from the left towards the right, cloth-stitching through the vertical 
pair at the beginning of each solid square. 



-D 



RULES FOE MAKING 



181 



LINE F, COL. 5, 

Un Forsd Hollaitdais, Filet. 



WB%^8§& 




WMsmimmmM^ 



This filet was made with seven, hanging pairs and a working pair. Bach 
pair is twisted twice between joints. The joints are made by cloth-stitching. 
Pins are placed under the joints to keep them in place; but an upper line of 
pins is removed as soon as a lower line is reached in order that no gaping holes 
may be left. 



=□ 



182 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE F, COL. 6, 
Lccherschlag. 







This plain, but pretty ground, is procured by twisting once, crossing, 
pinning, twisting twice, and then crossing to close. It is made on the oblique. 



□= 



□= 



RULES FOR MAKING 



183 

=□ 



LINE F, COL. 7, 
Valenciennes Mixte. 




The making of this ground is similar to that of the square-meshed "Vals": 
see Line A, Column 7. After the braided sides have been made, one should 
weave the linen-stitch as in the square-meshed "Val," not twisting these two 
pairs before cloth-stitching; but twisting them both once after the linen-stitch 
is made, before beginning the new braid. The outside, or pendent pairs, are 
twisted once as in the square-meshed Valenciennes. 



D= 



zO 



184 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



-a 



LINE F, COL. 8, 
Devonshire Swing Filling, Spot Stitch, and no Pin. 




As A. Penderel Moody says, "Either name refers to the working of the 
stitch, no pins are necessary, and the same worker is swung from each cutwork 
to the one below." Although Moody's book on "Devon Pillow Lace" suggests 
making this stitch from the right to the left, it seems perfectly easy to follow 
the general rule of making it from the left to the right, except, perhaps, in some 
peculiarly formed space. The weaver would then always come between the 
lower right of an upper cutwork and the upper left of a lower cutwork. In 
working from the left, the two left-hand or skeleton threads of a cutwork are 
secured with the following stitch below or to the left of it in order to give a 
firm foundation against which to pull, for one cannot pull the weaver of a 
working pair without misshaping the cutwork. This is, perhaps, what Penderel 
Moody means by working from the right to the left, as the work would progress 
in a diagonal line slanting that way. The weaver itself should always be left 
long to distinguish it, and the same one should be used in each successive cut- 
work to avoid ever pulling it unduly. The pairs should be twisted three times 
between points d 'esprit. 



□= 



RULES FOE MAKING 



□= 



185 



LINE F, COL. 9, 
A Lille Jour. 










This is made on the basis of Point du Mariage, but each second motif 
alternates and is cloth-stitched. The pricking is on the diagonal. At the bottom 
of the Point du Mariage motif where the solid part begins, the two center 
pairs linen-stitch; a pin is placed, the pairs are twisted twice and the pin is 
closed. The weaver then works towards the right, working through the right- 
hand mariage pair, which should first be twisted twice; here the pairs again 
cloth-stitch; another pin is placed; the pairs around it are twisted twice and 
weave towards the left. Here at the left, the pair hanging from out the mariage 



□= 



186 A LACE GUIDE FOR MAKERS AND COLLECTORS 

a 



LINE F, COL. 9— Continued 

A Lille Jour. 

motif, must also be twisted twice. At the center left and right of the solid 
motif, the weaver cloth-stitches through the mariage motif at its side ; pins are 
placed and closed. The worker here in the space between the two motifs, is 
twisted only once, in order that the solid part may not be pushed back, but 
remain as wide as possible. At the bottom of the solid motif, the two center 
pairs cloth-stitch ; a pin is placed : but here one recommences the mariage stitch. 
Point du Mariage or Tulle Double is described under Line C, Column 4. At 
the sides where the mariage motif meets the weaver of the solid spot, the mariage 
pair should be twisted twice before and twice after the intersection. 



a =Q 



RULES FOB MAKING 



187 

=a 



LINE F, COL. 10, 
Devonshire Toad-in-the-Hole. 




The little cutwork toad is guarded by four cloth-stitch walls; each wall 
requires four pairs, and each cutwork two. This pricking is made on the 
diagonal. Each cutwork pair is twisted three times; then the cutwork is made 
and the weaver and its mate are looped together once to avoid unnecessary 
pullings. The weaver should be left longer than all the other threads, that it may 
always be distinguished and not inadvertently pulled. In all cutwork fillings, 
one should work from the left to the right ; then starting again at the left, so as 
to secure the two left scaffold or foundation threads of the cutwork with the next 
stitch before weaving the point d 'esprit worker into its succeeding stitch. After 
the cutwork and the looping are finished, a supporting pin is placed below the 
leadwork and both cutwork threads are again twisted three times. These lead- 
works should come exactly in the middle of each square. The cutwork pairs are 



=□ 



138 A LACE GUIDE FOR MAKERS AND COLLECTORS 

a ' : c 

LINE F, COL. 10— Continued 

Devonshire Toad-in-the-Hole. 

now ready to cloth-stiteli downwards, each couple on its respective side through 
the four threads on each side that are going to make the wall directly below. 
This done, the cutwork pairs are again twisted three times and are ready to 
make new points d 'esprit, the same weaving threads being used throughout 
from upper row to lower row as workers. 

Before starting a wall one must cloth-stitch the two upper left-hand pairs 
and the two upper right-hand pairs; when the right-hand inside couple becomes 
the weaver, working through the remaining pairs at the left, so that the first 
pin is placed at the upper left. At the edge of the wall, the workers are twisted 
three times around the winkie pin and woven back into the wall. "When the last 
of these wall holes has been reached, the bobbins are again divided into two 
sets; the two wall pairs at the lower right, after having been intei'sected by the 
weaver, cloth-stitch through each other and pass towards the right; the weaver 
and the remaining left-hand pair linen-stitch together towards the left. These 
two sets are now ready to intersect the descending, diagonal, cutwork pairs. 
When the wall sets thus divide, they run horizontally. 



D — □ 



RULES FOR MAKING 



189 
—n 



LINE F, COL. 11, 
Trude "F" Ground (original) (American). 







>. . o . < 

> ■ o ■ < 

o.-e 



Each shield in this design is made of four threads; two coming from the 
left and two from the right. The pins are' placed directly below each other 
and the pricking is on the square ; that is, vertical and horizontal. The pins are 
placed above the joint to hold it down. The sides are braided four times and 
the tops and bottoms are twisted twice, crossed and twisted twice. This mesh 
loses its shape in washing. 



D= 



mo 



D- 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



=u 



LINE F, COL. 12, 
A Fancy Zeccatello. 




Bach linen-stitch spot is made up of eight threads, and each complete motif 
requires four linen-stitch spots with an open, twisted cross between. All joints 
are made by cloth-stitching. A weaver and a pendant pair enter at the top of 
the linen, left-hand, upper square. Here a pin is placed and closed. Then one 
weaves towards the left corner of the square, places a pin and closes it. Then 
to the right-hand lower corner of the same square, where another pin is placed 
and closed, then to the bottom, where a pin is placed and closed, the threads then 
entering the square directly below. The upper, right-hand, linen square of the 
motif is made in the same way, but reversed; that is, a pin is placed first at 
the top, then at the right-hand corner, then at the left, then at the bottom. 
The other two pairs, which enter at the tops of these two linen spots, after 
cloth-stitching through their centers, emerge below, coming towards each other, 



□= 



=D 



RULES FOB MAKING 191 

3 - - =n 

LINE F, COL. 12— Continued 

A Fancy Zeccatello. 

ready to intersect and form the open cross in the center of the motif. Each 
pair is twisted once, cloth-stitched, twisted again, cloth-stitched through the 
second, opposite pair and again twisted once. In finishing the two lower blocks, 
one is really starting new ones below to the right and left; the right-hand lower 
square becoming the left-hand upper square of a succeeding motif. The grill- 
like, twisted, center threads are now cloth-stitched into the lower blocks to form 
their bodies. It should be remarked that these squares are not exactly opposite : 
— the uppermost pair in leaving a higher square, crosses through the grilled 
center and enters the middle of tbe lower square to the other side: the pair coming 
from the middle of the upper block crosses and enters at the lower part of the 
side of the square below. 



-□ 



192 A LACE GUIDE FOR MAKERS AND COLLECTORS 

a== ===== — === 



LINE F, COL. 13, 
Valenciennes Picots. 







These plaits are braided in the usual manner, and the linen-stitch joints 
are made as in Lines D and E, Column 13. 

The right-hand pair is here used to make the picot. It is twisted three 
times and followed by an ordinary picot as explained under Line B, Column 13. 
To complete it, one crosses the two threads of the pair, takes the exterior thread 
alone and places it in the reverse direction over and around the pin. One then 
twists the pair three times, and having twisted the waiting, unused pair of the 
braid, recommences plaiting. 



Q= 



=D 



EVLES FOB MAKING 



193 



LINE F, COL. 14, 
Italian Open-eyed, Cable-like Spiders. 




■"••-•'JSK\W •'!.'■'•& § •'*? 






Eight threads enter at each side of the top of every spider, cloth-stitching in 
consecutive order through each other. Each spider is closed in the same way, 
but reversed, at its base. At the upper left of the spider inside the innermost 
pair, a pin is placed and then this pair linen-stitches through its mates towards 
the left. Once outside the spider, this pair is twisted once. Here it meets a 
corresponding pair — also twisted once — coming in the opposite direction from 
the spider next to the left. These two now cloth-stitch and the joint is sup- 
ported by a pin, each pair being twisted once after the joint. These pairs there- 
fore exchange, each one working towards the opposite spider, linen-stitching 
through it till it reaches the inside, where in the same way that a Bohemian edge 
is made, the newly-entered pair becomes the inside spider pair and the former 
inside spider pair exits around a pin by linen-stitching outwards through the 
other pairs and doing as was done before, just above. In all, there are three 
such exchanges on each side of every spider, so that three pins are placed be- 
tween spiders and three pins on the inside of each side of every spider. 



□= 



=D 



194 

□= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE F, COL. 15, 

Demi-Marguerites. 



v.-.T. • 











These half-daisies alternate with braids that are ornamented with a pieot 
on each side of the middle of their long sides. The centers of the marguerites 
should stand up as has been described elsewhere under Line F, Column 2. Pins 
are placed at the beginning or end, as it may be, of each petal, at the point 
where it joins a braid. The horizontal leaves have to be added at either the 
left or the right, according to which marguerite is ready first or according to 
one's preference of direction in weaving: have to be added in the air; that is, 
cloth-stitched through an incoming braid, using two threads of the braid as 
one thread, before the center of the daisy is made, in order that the new pairs 
may be well anchored. The centers should be made in this case the same as in 
an eight-leaved daisy. See Line G, Column 15. 



=D 



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RULES FOE MAKING 



195 



LINE F, COL. 16, 
Trade "L" Ground (original) (American). 






18ff»fira!a»Sf!ll 



• - ; 







k2sL ■•'"•ft :^!?!SrS?J:;<"»: :<•»•"•» *;., 



■:- - 





See Column 16, Line E, and Column 16, Line G. The method of working 
is similar to that of Trude"K" Ground, but the bodies of the fish are placed 
alternately below one another instead of directly below each other as in Trude 
"K" Ground; and instead of the diagonal pairs passing through each other 
only once — not counting their exits and entrances into fish — they, in this case, 
cloth-stitch through each other twice between tails and heads; and are twisted 
once between stitches. The horizontal workers are also twisted once between fish, 
but not while working through the bodies ; and the fish pairs themselves are 
twisted once at the head and tail, where pins are placed before finishing each 
body with a cloth-stitch. 



196 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-u 



LINE F, COL. 17, 
Dieppe Three-Thread Valenciennes. 





Each braid requires three threads and should be made by placing the right- 
hand thread over the center thread ; then the left one over the center one. This 
should be done three times with each braid between intersections. The joint is 
made by cloth-stitching the four threads nearest the center, placing a pin below 
the linen-stitch to support it and avoid confusion. Meanwhile one thread should 
be left idly dangling each side of the joint. These idle, side threads are again 
taken up and braided after the joint is finished. The braiding is recommenced 
in the same way as before, by placing the right thread over the center, then the 
left one over the center. 



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RULES FOR MAKING 



a= 



197 

— o 



LINE F, COL. 18. 
Tulle Double Done on the Square. 



•IS— A— A— A 







This ground is made in the same way as that described under Line D, 
Column 1, except that the pricking is not on the diagonal, and the threads run 
vertically and horizontally instead of obliquely: the horizontal threads being 
used as the weavers, working from left to right on one line and from right to 
left on the succeeding one; in other words, alternately. 



□= 



-D 



198 

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A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE G, COL. 1, 
Tulle de Vienne, Genre Valenciennes. 




Pins are used in this net only to sustain the joints, but are not closed. The 
two pairs, one from the left and one from the right, are each twisted three times ; 
then crossed, twisted and crossed to form the joint. 



RULES FOR MAKING 



D= 



199 



LINE G, COL. 2, 
Round Spiders in Twice-twisted Hole Ground, les Arraignees Rondes. 




Each of these spiders requires six pairs to form the legs, three at the upper 
right and three at the upper left. Two more pairs are needed to form the circle 
around the spider, and another two pairs to form the square around the circle. 
The spiders themselves are made in the usual way; as, for example, in Line H, 
Col. 2 ; the legs twisted three times : but the circle around the spider is made, 
if the pairs have not already been twisted, by twisting them twice and crossing, 
placing a pin, and crossing to close it. The square outside of the circle is made in 
the same way. 



200 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



=D 



LINE G, COL. 3, 
Tulle (5 twists). 




The principle of this mesh is the same as that described under Lines E and 
F, Column 3 ; except that the sides are twisted five times, making it appear less 
even and well-balanced than the ground of Line F, Column 3. 



n- 



=n 



RULES FOR MAKING 



D= 



201 



LINE G, COL. 4, 

Round, Open-eyed, Brabant, Binche Spiders, Oeil de Perdrix, Reseau Rosace, 

Point de Flandre. 




Eight pairs are needed to make this very pretty, but somewhat complicated 
spider. Six pairs for the body proper ; three entering at the upper left, inside 
of the circle ; and three at the upper right, inside of the circle. At the top of the 
circle, the inside, or first two pairs which meet, are cloth-stitched through each 
other, the joints supported by a pin, partly to avoid confusion. These two en- 
circling pairs then cloth-stitch through the spider legs, being twisted once 
between stitches. At the bottom of the spider they meet again and once more 
cloth-stitch through each other, the joint being supported as before by a pin. 
Each spicier leg is twisted twice. In order to make this body, the prominent part 



□= 



=□ 



202 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



=□ 



LINE G, COL. 4— Continued 

Round, Open-eyed, Brabant, Binche Spiders, Oeil de Perdrix, Reseau Rosace, 

Point de Flandre. 

of which is the open eye at the center, so made that it cannot close, because the 
pairs pull away from each other, some of the pairs have to be split or separated, 
one thread from its mate. The top, center or first, upper, right-hand pair 
passes continuously from the top to the bottom of the spider, cloth-stitching 
through whatever pairs it meets: but keeping to the right of the pin. The 
second, upper, right-hand leg does likewise; the third, upper, right-hand leg 
cloth-stitches through whatever pairs it meets; but keeps above the pin and 
passes from the upper, right-hand side of the spider to the lower, left-hand side 
of the spider. The first, upper, inside, left-hand leg separates, its left-hand 
thread lying idle until there is another separate thread to take for its mate, 
when it cloth-stitches through the pairs it meets, keeping to the left of the pin. 
Its right-hand thread does likewise, but passes to the right of the pin, around it, 
below it, and back to its original mate. The second, upper, left-hand pair 
splits in the same way. In fact, its two threads become respectively the mates 
of the two preceding threads. After passing around and under the pin, the 
original pairs rejoin each other. The third, or lowest, left-hand, upper leg does 
not separate ; but keeps on the underside of the pin, passing from the upper left 
to the lower right of the spider. In this way, there are six threads to the left of 
the central pin and six to the right. Each spider leg is twisted twice just 
inside of the circle, outside of the spider body, as noted above. The pairs outside 
of the circle are each twisted once and in couples cloth-stitch through each other, 
making crosses; are again twisted once, and are then ready to pass into another 
circle. The top and bottom center legs combine with the wheel or circle : the 
other two legs crossing each other. 




□= 



=□ 



0= 



RULES FOB MAKING 



203 



LINE G, COL. 5, 
Bohemian Ground. 






!:::^«*«4«i0fll«fli49«9*'.-;:: 
:- : : r -^##§a99»« »»e »•»«►:-;-;■- 

<v>*ftMaaMMfc«)«*ta£:'' : 

JBfiS**#4M*0'a»a*fci 

.. aaa9»s»a««9«9»9»;:: 
: -:*t^atiaaa99§9at9«^v 






•••!( 



::::::::::::::: 

'.- - 1 1 1 . 1 1 II II I 1 1 



This is a very simple filet mesh, every pair being twisted once between 
joints, the joints being made by linen-stitching, and the horizontal pair being 
used as weaver, working from left to right on one line and from right to left 
on the nest lower one. The joints should be supported here and there by pins 
in order to retain the alignment: but the pins should not be left in long or 
they will spread the threads and so leave ugly gaps. 



a= 



=D 



204 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



D= 



LINE G, COL. 6, 

Reseau Simple, Analogue a Celui de Lille, d' Arras, de Marche, de Tondern, 

de Buckingham. 



HM:?!^ 



>%H*V^ 




Two pairs are required to make this stitch arid they should be twisted 
three times between joints. In making the joint, the left-hand thread of the 
right-hand pair passes under the right-hand thread of the left-hand pair, com- 
ing out above it and falling forward and downward, now forming a new left- 
hand pair. The other joint-thread passes forward and downward towards the 
right, forming a new right-hand pair. A pin should be placed below this knot 
to sustain it. This is an exceptional stitch in bobbin lace making, as the passing 
of the bobbin through the loop really forms a loose knot. 



a= 



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RULES FOE MAKING 



205 
— D 



LINE G, COL. 7, 

Round-meshed Valenciennes (singly twisted joint, centuple braid) 
(Bruges has triple braid). 








See Line A, Column 7 and Line F. Column 7. The sides of the meshes in 
round Valenciennes are made in the same way as those of square or mixed 
Valenciennes, but the joints are more open and weaker. The sides of this 
particular ground are braided five times. The joint is made by twisting each 
of the two inner pairs once after finishing the braid and before cloth-stitching, 
and twisting once the pair coming towards the left after linen-stitching : but not 
the pair going towards the right, before beginning the new plait below. The 
outside hanging pairs should be twisted once between braids. 



□= 



=□ 



206 

□= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE G, COL. 8, 
Devonshire Cutwork Net. 







Si^^s&giia^i « &M 



IB ■ m 



in ■ ni 



• B • III 
III". Ill' • 



IB • III 



« • Ml • 
• 'ill'. 'ill' 



III 



hi . Ja • 
• in'- 'm' 
m' • 'h( •] 
m' 'ill' • in' 



This net is much more regular in appearance than Point d 'Esprit Net. 
It should be worked from the left towards the right in order that the left-hand 
or foundation pair of the outworks may be pulled into shape and secured with 
adjoining stitches; as the weaver of the right-hand pair cannot be pulled, but 
must be left especially long so that it can always be recognized. Any dragging 
on the part of the weaver would spoil the shape of the point d 'esprit. When the 
cutwork has reached the desired size, the weaver is passed through a loop made 
by its mate ; and pulled gently into shape, a pin being placed under the leadwork 
to support it. The cutwork pairs are now twisted twice and the weaver can be 
placed carefully aside, temporarily out of the way. The cutwork pairs are now 
ready to cloth-stitch through the plain net pairs on each side of them. These 
:plain net pairs are twisted three times between joints and linen-stitched 
through each other wherever they meet, which is directly above and below the 
cutwork and to the left and right of it. After passing through the square net, 
the cutwork pairs are twisted twice before a new leadwork is commenced. 



RULES FOB MAKING 



207 

— Q 



LINE G, COL. 9, 
Devonshire Wire Ground. 







The pairs in this case are always twisted four times between joints; the 
joints are made by cloth-stitching and are supported by pins; but the pins are 
not closed. 



□= 



=□ 



208 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE G, COL. 10, 
Devonshire Wall Filling. 




Eight threads are required for each wall. The weaver starts at the upper 
right, cloth-stitching to the upper left, and is twisted three times around the 
winkie pin. There are three pin holes to each side of the wall. At the bottom 
of the wall, after the lowest right-hand pin has been placed, the weaver cloth- 
stitches again to the left and with the left-hand hanging pair, passes over into the 
top of the left-hand, lower wall, cloth-stitching once en route through the pair it 
picked lip. The two, right-hand pairs coming out of the upper wall at its base 
now cloth-stitch through each other and pass into a lower wall at the right. 
The weaver for this lower wall is the weaver that came from the wall above it, 
to its right. 



=D 



D= 



RULES FOB MAKING 



209 



LINE G, COL. 11, 

Round-meshed Valenciennes of Harlebeke, Bruges, Courtrai, Bailleul 
(braided 4 times) (often twice, Denlelle episcopale). 



. . J'ii i?'i I r 3; J^~jgti % - 




rt:l&, 



The sides of this Valenciennes each require four threads and are braided 
four times. "When the sides are braided only twice, the lace is called Dentelle 
episcopale. 

The joints are quite open, giving the effect of a round Val with two little open 
dots between the larger holes. The vertical, pendant pairs which hang outside 
of the joint, are each twisted twice between upper and lower braids, and the 
interior pairs of the braids which cross each other by means of a linen-stitch 
between braids, are each twisted twice both before and after the cloth-stitch. 

See Line A, Column 7. 



□= 



=□ 



210 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE G, COL. 12, 

Zeccatello. 





Three pairs twisted twice, enter each solid spot at the upper left ; and three 
pairs twisted twice, at the upper right. The two central pairs of each of these 
sets, intersect with a linen-stitch, and after a pin is placed at the top of the little, 
linen-stitch square, are closed. A similar stitch is made at the bottom of the little 
square. No pins are used elsewhere. 



0= 



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RULES FOR MAKING 



211 



LINE G, COL. 13, 
Irish Ground. 



HmSi3f 




The braids are made in a horizontal zigzag, the downward points held down 
by pins until a lower line joins and holds them. The braids should not be made 
too long. When one reaches the second line or lower row, one should pull one 
pair of the second line bobbins by means of a crochet-hook under and around 
the downward point of a preceding line ; passing the other pair of the second or 
lower line into the loop of the two hooked-up threads, pulling the knot thus made 
well on top of the joint into plain sight. One is then ready to braid again. 

This ground is supposed to look slightly rough and clumsy, giving to the 
mesh a rustic appearance. 



Cfc 



=D 



212 



A LACE (HIDE FOR MAKERS AND COLLECTORS 



-0 



LINE G, COL. 14, 
Italian Spiders with 2 Horizontal Bars. 



■■?.-:-.. 



TTnri:;;:t*\?»ajjfrr;";' 








This easy ground requires a horizontal weaviug pair and two pairs for each 
spider. The upper left-hand spider pair cloth-stitches through the upper right- 
hand spider pair, the joint being supported by a pin. Then the working pair 
runs from left to right, cloth-stitching through the two spider pairs, being 
twisted twice between spiders, and immediately returns from right to left 
through the same spiders in the same way. Bach spider pair is twisted once 
between spider bodies. The spiders are terminated in the same way that they 
are begun, only by the reverse process. 



=□ 



□= 



RULES FOR MAKING 



213 



LINE G, COL. 15, 
Marguerites Centres a Huit. 



rs;r5??---?' ; 










•Hi*. 

•f.trfl 



aSBjSjaaaamg 



JijL 



This firm, attractive ground is easy to execute — provided one enjoys the 
making of leaves. Each pair can be considered as one thread or each thread 
can be worked individually. The two left-hand petals cloth-stitch consecutively 
through the top and upper right-hand petals. Here a pin is placed and closed, 
the center being arched in the way described under Line E, Column 4. Should 
one prefer, one can work from right to left instead of from left to right : the idea 
in either case being to linen-stitch the two, upper petals through two, other, 
upper petals. "Where the horizontal petals meet each other, a pin should 
temporarily be placed, but removed before the second petal is entirely woven in 
order that the threads may slip up and fill the hole left by the pin. Between 
daisies, where the petals form a cross, they linen-stitch through each other and 
the joint is supported by a pin. 



□= 



rD 



214 

Q= 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



-o 



LINE G, COL. 16, 
Fish with 2 Horizontal Bars. 






I 



' i • - : »> iiv. aV ; •«. •* »j ;•• 

• • •..•■ 

•••••• 

'$£'■'■ 
•Hr; 







.■■it 

• •• 










i 

a::* 







The weaver or horizontal bar passes twice through each so-called fish. The 
weavers and all other threads are twisted twice between fish and between other 
stitches, but the body of the fish is not twisted after the two pairs which form it, 
have cloth-stitched together at the top, nor until after they have cloth-stitched 
together at the tail. The fish are placed alternately below one another. Between 
bands of fish — that is, below one band and above the next — the passive or oblique 
pairs cloth-stitch through each other twice, not counting the exit and entrance 
into the fish bodies. Any pins used as supports, should soon be removed to avoid 
leaving unsightly gaps behind. 



□= 



=□ 






a^ 



RULES FOB MAKING 



215 

=□ 



LINE G, COL. 17, 
Trude "R" Ground (original) (American). 









■W 








Tf 


V- 


Vif 


.*_ 






d 


l?!stt 


= 7* 


> 


' 


■; ; 




















' ; 




k 


1 




















1 






















S= 


5 


f *?■ 






i 


H 




tri 


UJ 



This mesh is strong, hut rather confusing to make. The under or lower 
ground runs vertically and horizontally, each band having four pairs, twisted 
four times between the line-stitch squares. No pins are used in this part of the 
work except to hold up the weaver, which working back and forth from one side 
of the lace to the other, forms the horizontal lines. 

The superimposed design runs diagonally, two pairs twisted four times 
between intersections, weaving through each other by means of a cloth-stitch, 
made just over or above the twisted parts of the under-ground. 

To connect the two grounds, one should lay one thread of the diagonal over- 
mesh between two threads of the under-mesh, following the direction in which 
both are travelling, taking care to keep the diagonal threads on top. One ought 



□= 



216 A LACE GUIDE FOR MAKERS AND COLLECTORS 



always to connect the first, two appropriate pairs which meet, so, when travelling 




from right to left: — /^ jj so, when travelling from left to 

ST 



\ * 



When working over 
right : — 

the horizontal hars, 

111 IV 

the top or next to the top horizontal weaver is twisted once before it connects 

with a diagonal super-band, then it is twisted three times. The diagonal strand 
is twisted three times before and once after its connection when it meets the top 

or next to the top weaver-band of the under-rnesh, here for example : — — — __ 

VI 
Then one cloth-stitches this diagonal pair with its mate, placing a pin below the 

cross-joint in the center of the linen-stitch to support the joint. This pin should 

be removed before much work has been done, so as not to leave a hole behind it. 

When the horizontal weaver returns to this spot on the next lower line * 

Y/l 
the first diagonal pair it meets should have one thread passed through it to 

steady the structure, thus: — /--\._ or, thus: — Z v according to the 

Viii In- 

direction in which the weaver is travelling. This prevents the super-structure 



from slipping up or down. Over the vertical twists, f J / 1 the diagonals are 



X 
similarly attached to prevent their slipping sideways, thus:- 

thus: — ■ MfN These black dots indicate connections, or slipped-in threads, 



- m - 



Xl/ 

not pin holes. The pins used are placed at the center of the diagonal joints 



thus : 



All £ 



i 



XIII x/v 

D - D 



RULES FOE MAKING 



217 

=□ 



LINE G, COL. 18, 
Trude "T" Ground (original) (American). 




This sample requires ten pairs, four for each outwork, and a weaver. The 
outwork should be separated by a horizontal weaver bar running from left to 
right and vice versa, fastened at each end to afford a little firmness. The same 
design worked with several vertical bars is less satisfactory on account of less 
stability while working, besides its requiring more threads. 

Each pair is twisted three times between encounters or intersections. Pins 
should be temporarily placed below the cutwork weaver, and between the other 
cutwork threads while pulling these gently into position. The left-hand cut- 
work pair should be adjusted first, and the weaving pair knotted once before 



□= 



=□ 



218 A LACE GUIDE FOR MAKERS AND COLLECTORS 

□ =1: 

LINE G, COL. 18— Continued 

Trude "T" Ground (original) (American). 

twisting it three times. The weaving pair should be kept oh the right hand, 
and the weaver itself longer than its mate. This same weaver must be used as 
the conductor on the cutworks below, so as never to use it as a side thread and 
thereby pull it too hard. After the three other threads are pulled out smooth, 
the weaver is pulled, and if necessary its knot is slightly lifted up into place 
close under the outwork or point d 'esprit with the help of a long sharp pin, the 
weaver's mate being firmly held meanwhile. The pins should be left in place 
until ready to start a new cutwork. Then the two right above the point d 'esprit 
should be removed to prevent leaving loops behind. Other pins that are in one 's 
way, may be pushed down, but not quite all the way in, that they may be easier to 
grasp and later remove by means of fine embroidery tweezers. 



=□ 



RULES FOB MAKING 



D= 



219 

=□ 



LINE H, COL. 1, 

Twice-twisted Hole Ground, Dieppe Gronmd, Hole Stitch with Twice-twisted 
Thread, Locherschlag mit Zweimal gedrehten Faden. 




This Twice-twisted Dieppe Ground is slightly easier than the regular, 
French Tulle de Dieppe, as it is twisted twice instead of three times between 
joints. The joint itself is made in the same way; that is, by crossing, twisting 
and crossing, placing a pin and closing it by crossing, twisting and crossing. 



□= 



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220 

Q— 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE H, COL. 2, 
Les Arraignees Carees en Tulle Double. 





Each spider requires six pairs, three entering at the upper left and three 
at the upper right; these pairs or legs are each twisted three times, above and 
below the spiders. The spider bodies are made in the usual way. That is, the 
three upper, left-hand legs cloth-stitch through the three upper, right-hand 
legs. A pin is placed in the center ; the inside pairs are held high in the hand 
and the outside pairs are pulled specially tight in closing this spider, so as to 
make a little prominence at the center of the body, and the pairs on the left are 
cloth-stitched through those on the right to close the pin. The little row of open 
squares between spiders is made at the points of encounter between three right- 
hand legs of an upper spider, coming down to meet three, upper, left-hand legs 
of a lower spider; and at the center, top, bottom, left and right of the square, 
which frames the spider. At these points, the pairs which meet, if not already 
twisted, are twisted twice and crossed. Here a pin is placed and closed by 
twisting twice and closing. This is Tulle Double. 



a= 



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RULES FOR MAKING 



221 



LINE H, COL. 3, 
Fond de Brides. 




m 



mm 






.::;. 



I* 







The scrolls and figures of bobbin lace were at first made to touch or overlap 
in order to hold together. Later they were held in place by twisted, braided or 
f ancily worked cross-bars of thread, known as ' ' brides. ' ' The throwing across or 
arrangement of these "bridges" became more and more regular as lace-making 
advanced, until they suggested network and led to the making of established and 
recognized grounds. 

There is no real rule for the making of Fond de Brides, except that it should 
be so twisted, braided, or otherwise entwined as to form a more or less equal 
and evenly spread out amount of open and solid, of light and dark, of evenly 
arranged, equally large pseudo meshes. 



D= 



222 

□= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-P 



LINE H, COL. 4, 
Eyeless Spiders, Fond de Neige. 




These eyeless spiders; that is, spider bodies without pin or other holes in 
the centers, are made with six pairs to each spider. The pairs or legs, entering 
at the upper left and upper right and leaving at the lower left and lower right, 
are twisted twice each between spiders ; also the two legs entering at the top and 
leaving at the bottom. But these last, vertical pairs cloth-stitch through each 
other at the top of the spider having a pin placed above; and then spread out, 
cloth-stitching through the legs entering at the upper and lower left and upper 
and lower right, so as to form a circlet or wheel around the body of the spider, 
thereby squeezing the center of the body more compactly together. At the 
bottom of the spider, these encircling pairs cloth-stitch again through each 



D= 



RULES FOR MAKING 223 



LINE H, COL. 4— Continued 

Eyeless Spiders, Fond de Neige. 

other, have a pin placed below the joint and are twisted twice. They are then 
ready to cloth-stitch again and enter the top of a lower spider. Inside of this 
wheel, the two, upper, left-hand legs cloth-stitch obliquely through the two, 
upper, right-hand legs and become the two lower, right-hand legs and are twisted 
twice and are ready to enter a spider below at the right. The upper, right-haud 
legs become the two, lower, left-hand legs, are then ready to enter another spider 
below to the left. No pin is placed in the centers of these spiders. 



□ = :D 



224 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE H, COL. 5, 
Genoese, or Reticella Mode. 






Z-rfr&^t 



.- -r"?i ■■•■■■ - 

•■(•WMit'llSUHiS.V 

ft'M'lllWtlSiaitito- 

i:;:.*<-«fliii»»iiu««iii<iiii|i|iv 

mmmmm m 

iJ.-vWIiit'miinnnitiiniimL: 

:;; ,f ••!»»«'i'i!S si|i9Ht«ia.5i» ^r 




i 



This ground somewhat resembles Buratto, a textile ground usually woven on 
a loom and embroidered similarly to the usual filet. The mode here described has 
a horizontal weaver, twisted once between pairs, which works from left to right 
and then back, et cetera; cloth-stitching through iintwisted, vertical pairs. 
These joints should be supported by pins in order to preserve a true alignment. 



□= 



RULES FOB MAKING 



225 



LINE H, COL. 6, 
Lock Stitch or Du Puy Point de Paris Variation, Torchon Mode. 






r5*iJ •<■• ••» ««^* 







See Line C, Column 5 and Line A, Column 5. Four pairs are required for 
each stitch, two of them hang vertically, the other two work back and forth 
obliquely. Every pair is twisted once between stitches. At the point where the 
two verticals meet each other, a cloth-stitch should be made, and a pin placed 
and closed by another cloth-stitch. Where the diagonal pairs traverse the 
vertical ones, a linen-stitch should be made without pin or closure. 



ct 



=0 



226 



A LACE GUIDE FOB MAKERS AND COLLECTOR* 



=□ 



LINE H, COL. 7, 
Round Valenciennes (doubly twisted joint, triple braid). 





See Line G, Col. 7. The sides of these meshes are plaited three times: the 
inner joint pairs are twisted twice before and twice after the linen-stitch: the 
idle, outside pairs are also twisted twice between tresses. It may be interesting 
to compare this ground with that under Line B, Column 5. 



=o 



RULES FOR MAKING 



227 



LINE H, COL. 8, 
Devonshire Point d'Esprit Net. 







H ■ M ■ r 



This higgledy-piggledy net requires very little explanation for the making 
and must be left partly to the eye of the maker regarding the distribution of 
the spots. One suggestion is to work the first row alternately with net stitch 
and spot ; the next row all net, and the third again alternated, placing the lower 
cutworks a little to one side of those above them. The net is made by twisting 
three times and crossing. Pins should be used to support these crosses. When 
the maker wishes to form a cutwork, instead of an open, net mesh, the pairs 
should be twisted twice before beginning the spot. Otherwise there will be an 
ugly gap at the top of the leadwork, showing an isolated, bridging thread. At 
the end of the cutwork it is imperative to loop the weaver and its mate before 
proceeding. 

A simple designing method called Spot Repeat presents an easy way of 



=D 



228 

□= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



LINE H, COL. 8— Continued 
Devonshire Point d'Esprit Net. 




IS*. 
I- 



I © r J* 



distributing the outworks in Point d'Esprit Net. One draws a square and 
divides it vertically and horizontally into four, five, six or seven equal sections 
or smaller squares. If the original square be divided into four, there will be 
sixteen little sections, and upon these one places four dots — representing cut- 
works. No two of these dots should be in a vertical or horizontal line from each 
other, but always to the right or the left, above or below, so that only one spot 
appears in each vertical and horizontal space. Arranging them is as much fun 
as playing a game. When one large square is finished, one places a duplicate — 
dots and all — adjoining one side of it ; and two others, one below each of these, 
thus forming a still larger square unit. One can now get the effect of their 
sprinkling of dots, and see whether these chance to form unexpected and objec- 
tionable bands or zigzags. "When one cuts a square into five sections each way, 
one places upon it five spots ; if into six divisions, then six dots, and so on. As 
the prickings for circular nets in bobbin lace are founded upon squares placed 
diagonally instead of vertically and horizontally, one should turn the cross 
section or quadrille paper upon which one has distributed one's dots, in an 
oblique position. 



=D 



RULES FOB MAKING 



229 



LINE H, COL. 9, 
Flemish Filling. 







This is an easily made, strong ground. Each pair is twisted three times. 
One coming from the upper left and one from the upper right, cloth-stitch. 
A pin is placed, the pairs are again twisted three times and the pin closed by 
cloth-stitching. 



=□ 



230 
Q= 



A LACE GUIDE FOB MAKERS AND COLLECTORS 



-a 



LINE H, COL. 10. 





This ground has a sort of double-lattice background, each pair of which is 
twisted three times on its long, uninterrupted sides and twice on its short sides, 
where the little squares are formed. Interwoven through this is a fancier mesh 
which meets in the center of the little squares, cloth-stitching and closing around 
the central pin. The pairs that make this joint are twisted once around the 
pin, but are not twisted afterwards until they have cloth-stitched out through 
the center of the sides of the little square (between its two twists). Now being 
out, they are twisted once and then cloth-stitch through the once-twisted side of 
the big square just encountered, which here exchanges to form the fancy mesh 
in the center of the succeeding little square, each pair being twisted once after 
the cloth-stitch, which is supported by a pin. Thus the centers of the big 
squares are empty. 



□= 



=□ 



RULES FOR MAKING 



231 
=□ 



LINE H, COL. 11, 

Five or Six Sided Milanese Mesh. 







^y 



This sample requires only four bobbins altogether, and is worked from one 
side to the other; the lower row sewing or crocheting into the one above. The 
pricking is made on the diagonal. A pair should be braided twelve times be- 
tween joints. Here the two lower pairs are left untwisted; one of the upper 
threads is hooked over and above the preceding row, and its mate put through 
the loop, when one twist is made and these two threads looped or sewed once 
around each other. A pin is placed below this joint between the two pairs, and 
braiding is recommenced. 



=□ 



232 

□= 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



=□ 



LINE H, COL. 12, 

"Sunspots." 







Twelve threads grouped into three braids enter near the top of each ' ' Sun- 
spot" and leave towards its base. The left-hand pair of the right-hand braid 
becomes the weaver. It half-stitches through the right-hand pair of the center 
braid. A pin is then placed and closed. The work is continued towards the left, 
taking in the two pairs of the left tress. Another pin is placed and closed, the 
work now going towards the right, taking in the last right-hand pair. Here 
it pins, closes, and works to the left. After closing here, one pair makes its 
exit. One then works again to the right, pins and closes, where another pair 
makes its exit. Again towards the left. Here, after closing, one pair exits. 
These two left-hand pairs are now braided and enter at the right of the "Sun- 



D= 



i 
=□ 



RULES FOB MAKING 233 

3 =n 

LINE H, COL. 12— Continued 

"Sunspots." 

spot" to the lower left. One then works back towards the right and here, after 
closing, makes a plait that will enter the lower right-hand "Sunspot." The 
two remaining pairs at the bottom are then braided without closing and enter 
the top of the "Spot" almost directly below. These "Spots" are intended to 
be a trifle irregular in shape, and the tresses to slope a bit. The spots should 
be a little smaller than the ink lines on this pricking indicate. A cordonnet or 
gimp outline can be used and worked through the vertical top and bottom braids. 



234 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE H, COL. 13, 
Medici, Florentine, Byzantine Knots. 




Two pairs are used on each side to make the braids, and the two center 
ones used after the braid joint is made, to make a small leaf or petal (the size 
of the petal should be in proportion to the size of the mesh made by the braids). 
Before a petal is started, a pin should be placed above the joint to hold it down- 
wards. After the petal is finished, a simple granny knot is tied with the weaver 
and its mate — the right-hand, leaf thread. Then a pin is placed below the joint 
to hold the petal up, and the braiding is continued, plaited especially tight just 
around the joint. 



□= 



RULES FOR MAKING 



235 

=□ 



LINE H, COL. 14, 

Italian 6 Legged Spiders with Ribbons. 



1ZT4B&*.-.: v, :"i*-~r:;: -:;"•;*" -**«-" *.*-.-* -™-=itt;--. 










!!lt^A«5'!S 







Starting at the apex of the little open square, one twists two pairs, makes 
a cloth-stitch with them, places a pin, twists, closes and twists. One of these 
pairs now works towards the left and one towards the right. The left-hand 
pair cloth-stitches with the once-twisted pair now entering at the upper left— that 
is with the upper left-hand leg of this little, open, spider square. A pin is placed 
here and the pairs twist, close, twist. One should do likewise at the right-hand 
with the right pair and right leg. Again the same at the bottom with the two 
remaining central pairs, for the two legs that enter at the upper left and right 
exit at the lower left and right. The two center pairs now cloth-stitch six times 
untwisted down through a twisted weaver and then commence another spider 
similar to the one just described. But it is well to be careful that the weaver 



□= 



=0 



236 A LACE GUIDE FOR MAKERS AND COLLECTORS 

□ — ~ c 

LINE H, COL. 14— Continued 

Italian 6 Legged Spiders with Ribbons. 

really does make six horizontal trips. This worker is twisted once each side 
of the pendant legs of the spider, between them and the wavy ribbons, but is 
not twisted in weaving through the legs. 

A wavy, eloth-stitch, three-pair band or ribbon separates one column of 
spiders from another. Opposite a spider on one side of the upright, wavy border, 
come six weaver crossings on the opposite side, then another vertical, waving 
ribbon; then again a spider. 

"Where the weaving pair of the ribbon meets the diagonal leg of the 
spider, it should be noted that it weaves through the ribbon once above the 
leg and downward through the leg and then drops to the position of a passive 
pair. The inside, passive pair on the other margin of the ribbon now becomes 
the new worker, cloth-stitching once through the descending leg, and linen- 
stitching through to the other side of the ribbon. 



a =□ 



D= 



RVLES FOR MAKING 



237 



LINE H, COL. 15, 
Trude "J" Ground (original) (American). 





Each leaf requires four threads, and two leaves make a spot. At the 
top of the spot, where two leaves meet, one coming from the left and one 
from the right, they are cloth-stitched through each other, each pair being 
used as one thread. The next right-hand pair then becomes weaver, and works 
toward the right through the right-hand pair, where a pin is placed to the 



right, just below the top of the spot. 



The edge is made Winkie Pin fashion, 



without twisting around the pin. At the two central, side, pinholes, two other 
leaves touch. The nearest pair to the incoming or approaching petal is used 
as a new weaver, and exchanges with the old one which goes out into the side 
petal. A pin is placed at the base of the spot, where the two, left-hand pairs 
are cloth-stitched together and the two, right-hand pairs together. The pin 
is then closed by linen-stitching the two, inner pairs. 



=D 



238 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-a 



LINE H, COL. 16, 
Abruzzian "Point and Flat." 




I 



I 



I 



I 



I 



I 



m 



Five pairs are required for each little square: but the fifth or outermost 
pair of one square is also the fifth or edge pair of the adjoining check — being 
shared between them at the top and bottom and both sides, and being worked 
without twisting whether it is a pendent, vertical pair or the weaver. At the 
corner of each check, in the center of the stitch, between the threads, a pin 
should be placed to keep them in line as well as to avoid confusion. Every 
other square is made of linen-stitch, and the alternate ones are grilles: the 
threads in each direction being twisted once between encounters. 



=□ 



a= 



RULES FOR MAKING 



239 



LINE H, COL. 17, 
Tresses with Open Hooked Joints. 





A quickly, easily made stitch. This sample can be done in either of two 
ways: — by weaving several parallel, upright braids, or by making one horizontal 
plait, running first in one direction, then returning below in the opposite 
direction. This sample was made by the first of these two methods, which 
places the two holes of the joint side by side between the upper and lower 
braids: — the second method would place these two, little holes one above the 
other. There should be four threads to the braid and four braid stitches tightly 
done between joints. The actual joint will pull a little to one side of the 
pin hole, as the pin of the preceding plait or braid is removed when the joint 
is made, and the second braid of the joint pulls the first one towards it. No 
pin is needed to hold the joint in position. 

The first braid is plaited four times, then each of its pairs is twisted 



O- 



=□ 



240 A LACE GUIDE FOR MAKERS AND COLLECTORS 

D 



LINE H, COL. 17— Continued 

Tresses with Open Hooked Joints. 

twice and a pin is placed in the opening between the two twists, and the braid- 
ing is continued another four times, when this braid makes a joint with the 
one preceding it, — unless it happens, of course, to be the first braid, either 
topmost or farthest to the left. A joint is made where a later braid in its 
zigzags meet a preceding one. Then the pair in the second braid nearest the 
first plait, is twisted once, and one thread is hooked into the former pin space 
while the mate is passed into this crochetage loop. The threads are pulled up 
smoothly, the working pair twisted once, and the idle, hanging pair twice. Then 
regular braiding is recommenced. In making the first two, tress stitches after 
the joint, the braid should be held in a line continuous to its direction before 
the joint was made, as this helps to pull out the preceding braid more smoothly. 



a □ 



OF 



RULES FOR MAKING 



241 



LINE H, COL. 18, 
? ? 







v%1 



Upper Half. 



This sample requires twelve, vertical pairs and a weaver. 

Two horizontal threads, twisted four times between the flat, spread-out, 
vertical bands, act as a conductor, weaving from one side of the lace to the 
other and back, cloth-stitching through the four, untwisted, vertical threads. No 
pins are necessary, except as occasional supports to keep the lines straight and 
in plumb. 



a= 



=□ 



242 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



-u 



LINE H, COL. 18, 
Lower Half. 




This sample requires fourteen, twisted pairs. 

The sides of the ellipses are twisted three times between stitches to keep 
them open, and each section of the cross inside of the ellipse is twisted three 
times to round out the ellipse. Supporting pins are placed under, but not 
inside of the joints to support these crosses. The bars between one ellipse and 
another should be twisted only once. 



□= 



=D 



BIBLIOGRAPHY 

This list was started soon after the author left school. Unfortunately, she then 
had no definite object in keeping it : hut did so simply because anything to do with 
lace, appealed to her. She therefore noted books and articles so connected when she 
saw them in museums, public libraries, private collections, catalogues, books, mag- 
azines, newspapers or at sales : but she did not always keep an account of where 
she had come across the works. The descriptions of the many different editions 
of the Vinciolo and Vecellio pattern books, are largely quoted from Mrs. Bury 
Palliser, whose splendid "History of Lace" is well worth perusal or consulta- 
tion. Although the following bibliography has been compiled from many sources, 
thanks are particularly due to the Needle and Bobbin Club for kindly allowing 
its list to be reprinted; to the author's friend and schoolmate, Miss Ruth S. Gran- 
niss, Librarian of the Grolier Club ; to Miss Frances Morris, Assistant Curator 
at the Metropolitan Museum and Vice-President of the Needle and Bobbin 
Club; and to Mr. William M. Ivins, Junior, Curator of Prints at the Metro- 
politan Museum. As it is practically impossible to see personally every book 
described in a list of this sort: but it is nevertheless desirable to make such a 
bibliography as nearly complete as possible in order that it may be of the great- 
est service, the author has included books which she, not having already come 
across herself, found listed elsewhere ; or she added to her own nucleus of in- 
formation, items that seemed desirable. But feeling that the compilers of such 
matter, should have the credit for the fine detailed work they have done, the 
author has used only such parts of their descriptions as are essential to the 
identification of the different volumes. It has also seemed more accurate not 
to translate the descriptions given by others. In cases where the differences 
between the two books are very slight, both volumes are noted, as without in 
each instance seeing the actual work, it is impossible to decide which annota- 
tion is the more exact. Readers are referred especially to the catalogues of 
the South Kensington Museum, Mrs. Bury Palliser, Mr. E. F. Strange, Mr. 
Emmanuel Bocher, and Professor Eugene van Overloop. 

Mr. Edward F. Strange in the VTIth Volume of the Transactions of the Bib- 
liographical Society gives the following interesting and enlightening account: 
The earliest known Lace-book now appears to be that of Jorg Castel, 
of Zwickau, Ein Neiv Modelbuch, etc., 1525, a copy of which has recently 
been added to the collection in the Konigliche Kunstgewerbe Bibliothek, 
Dresden. This furnishes the originals, of which six plates in the book of 
Pierre de Sancte Lucie, Diet Le Prince, successor to Claude Nourry, of 
Lyons (1530-1533) are copies. Its title page shows it, however, to have 
had at least one earlier edition; and others followed in 1527 and 1529. 

Next in order of date seems to come the publication of Peter Quentell, 
of Cologne, Eyn ney Kunstlich boich . . . Gedruckt tzu Collen up dem 

243 



244 A LACE GUIDE FOR MAKERS AND COLLECTORS 

Doemhoff dwrch Peter Quentell. Anno MDXXVII. 1 In the same year, 
and at the same town, appeared Linre noveau et subtil touchant lart et 
sciece tant de brouderie fronssures, tapisseries .... En primer -e a culoge 
[Cologne] par matrepiere quinty deupre leglie de Hi roies. Then come two 
rare volumes, of which copies, said to be unique and hitherto undescribed, 
were offered for sale by Rosenthal, of Munich, a short time since: Ein 
new Furm buchlein (c. 1528-29, with 32 plates, said to be entirely original) 
and Ein new getruckt model Biichli; auff nehen vnnd bortten wircken ynn 
der laden vnnd lanngenn gestell. Ganntz gerecht nach abteilung der 
Feden tzal. (1529. Forty-five cuts of needlework and lace.) It appears, 
however, to be an edition of GrastePs book. [The last two are now (1918) 
in the Metro. Mus., N. Y. Gertrude Whiting.] 

The earliest Italian book of which a record exists is A. Paganino's 
De rechami . . . (Venice, 1527). Then comes an edition dated 1528 
(noted by Brunet and Merli), of Giovanni Antonio Taglienti's Opera 
nuova che insegna a le Done a cuscire, the edition of 1530 being printed 
at Venice "per Giovan Antonio Tagliente & i Fratelli de Sabbio." 
Tagliente was the compiler of one of the earliest and best of the writing- 
books ( 1524) . This publication has a title in red gothic letters ; four wood- 
cuts, with women at work. Its contents are of a somewhat fanciful nature, 
and include several symbols, such as hearts transfixed with arrow and 
sword, several pages of examples of lettering, designs of animals and vases, 
a good border of angels on the reverse of Aiiii, and six pages of instruc- 
tions ; from which we see that the patterns were intended to be executed in 
various coloured and black silks, gold and silver thread, etc., for em- 
broidery, for the use of both men and women. The next is Esemplario di 
lavori dove le tenere, etc.: Venice, "per Moolo DAristotile detto Zoppino 
MDXXIX," of which a copy is in the Bodleian Library; and in 1531 
appears Gr. A. Vavassore's Esemplario di lavori che insegna alle donne, etc. 
Of this a copy is in the Kunstgewerbe Museum, Berlin. The earliest edi- 
tion described by Mrs. -Palliser, is only dated 1546, but Dr. Jessen has 
doubtless had good reasons for dating his copy as above, and Professor 
Kumsch agrees with him. An interesting point in it is, that a design of 
Orpheus charming the Beasts, which in Tagliente 's volume appears in 
simple line only, is in that of Vavassore shown in squares for making 
"lacis." 

Of the French books, the honour of being the first belongs to a Floren- 
tine who published in 1530 la fleur de la science de pourtraicture et pat- 
rons de broderie. Facon arabicque et ytalique. . . . Ce present livre a este 
imprime a paris par jaques nyverd. Le IV jour daoust. Lan de grace mil 
cinq ces XXX. Pour noble home messire Francisque Pelegrin de florence. 
It is of value as showing how wide was the diffusion of patterns, though 
these contain neither animals nor other natural objects, and are confined 
to moresques. Of about the same date is that published by Claude Nourry 
at Lyons. 



(1) Transcribed M.D.XXXVII by Mrs. Palliser. I have not seen a copy, but the mistake, whether hers or 
Quentell's, is evident, as the earlier date is inserted at the back of the title. [See Egenolff, 1527. Gertrude Whiting.] 



BIBLIOGRAPHY 245 

So far as the beginnings of our subject in other countries are con- 
cerned, we may note A nea/ive treaty s: as coernynge the excellency of the 
nedle worcke so playnli made & set tout in portrature, the whiche is 
difficyll; and natoly for crafts me but also for gentlewome & ioge damosels 
that therein may obtayne greater conynge delyte and pleasure. These 
books be to sell at Andwarp in the golden Unycorne at Willm Vorster- 
mans. As W. Vorsterman worked from 1514 to 1542, we have here limiting 
dates which show the work to have been quite early, and the fact that it 
was worth while to produce it with an English title is interesting evidence 
of the closeness of the commercial intercourse between this countiy and the 
Netherlands. The first genuinely British pattern-book I have been able 
to trace was printed at London by J. Wolfe and Edward White for Adrian 
Poyntz in 1591: New and singular patternes and ivorkes of Linnen, etc. 
It has an interesting "Epistle to the Reader," and dedication: — "To the 
Right Worshipful Gentlewoman, Mistress Susan Saltonstall, wife to the 
right Worshipfull Mr. Richard Saltonstall, Alderman of the City of Lon- 
don," both given at full length by Mrs. Palliser. In the latter the author 
alludes to "certaine paternes of cut-worke and others brought out of For- 
eign Countries which have been greatly accepted of by divers Ladies and 
Gentlewomen of sundrie nations and consequently of the common people," 
and states his hope "to increase and augment with more paternes of 
work. ' ' 

It is a surpi'ising fact that no one, so far as I am aware, has yet noted 
the existence of any Spanish book of the kind, though, as Mrs. Palliser 
says, "Dominique de Sera, in his Livre de Lingerie, published in 1584, es- 
pecially mentions that many of the patterns of point couppe and passe- 
ment given were collected by him during his travels in Spain." The 
Spanish writing-books, though few in number, are among the finest of 
their class; and one would have expected at least some sets of patterns to 
have been published in that country, though they would have probably been 
devoted to gold and silver thread-work rather than lace, the use of which 
was restricted by ordinances and heavy duties, and the supply derived from 
the Low Countries and Prance. The 1597 edition of Parasole's Studio 
delle Virtuose Dame has a dedication in Spanish, to Bona Joana de Ara- 
gon y Cardona, a member of the family of the Dukes of Segorbe. Her arms 
appear on the title-page; and one of its quarterings — the "Moorish King" 
of the Cordova shield — forms the central ornament of the first cut, with 
other heraldic devices ; and the inscription Nichil sine ipso factum est. 

ABBREVIATIONS 

B. K. M. . . . . . . Berlin Kunstgewerbe Museum. 

D. K. S Dresden Kunstgewerbe Schule. 

B. M British Museum. 

Metro Mus Metropolitan Museum, New York. 

S. K. M South Kensington Museum. 

V. & A. M Victoria and Albert Museum. 



246 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



Fuller descriptions of the following early pattern books can be found in the 
"Manuel des Travaux k l'Aiguille," 1911, by Emmanuel Bocher, in "A History 
of Lace," 1902, by Mrs. Bury Palliser, or in "Early Pattern Books of Lace, Em- 
broidery and Needlework" by Edward F. Strange in the Transactions of the 
Bibliographical Society, December, 1904,London : — 



Listed in 

Present Listed by Listed by Listed by 

Volume Mr. Bocher Mrs. Palliser Mr. Strange 

as book No. as book No. as book No. as book No. 



Listed in , 

Present Listed by Listed by Listed by 

Volume Mr. Bocher Mrs. Palliser Mr. Strange 

as book No. as book No. as book No. as book No. 



17. 
47. 
48. 
49. 



.93 



.179 
.1S3 



104 74 

105 106 

106 166 bis 

162 

197 52 

202 12S 

203 

204 174 

205 175 



522. 
546. 
553. 
554. 
579. 
587. 
589. 
590. 
591. 



.130 

'. .32 
..31 
..45 
..46 

..48 
..64 



.111 



53 






92 


58. . . . 
59. ... 
60 


27 

141 


. 30 




61 






. .1 


62 






o 


63 






:; 


64 
68 
71 


145 
4 




4 


77 








78. 

83 


109 




<; 


S6, 

S7 









.103 



239 




. .19 




240. . 






s 


241 , , . 
250. . 


9 




2S 


268 

269 


. . ,164 




9 


356 






10 


357 

365 

382 


114 
SS 




11 


383 

384 


, . 113 




13 


385 




63 




386 






12 


387 

473. . . . 
496 


... .184 
129 


29 




517 






16 


518 






17 


519. . 




. .35 




520 






IS 


521 






19 



.11 



.65 
.03 



.149 



.137 



..43 
.171 



51 



592. . . . 
593. . . . 
594. . . . 
598.... 
599.... 
600.... 

601 

606.... 
610... 

615 

617. . . . 
61S.... 
619. . . . 

621 

622 

624.... 

625 

626 149 bis 

030 33 

644 71 

646 22 

648 23 

650 24 

651 21 

652 131 bis 

660 163 

662 

667. . . . 
6S6.... 
694. . . . 
695.... 
700.... 
722.... 
752. . . . 
771.... 
781.... 

782 

789.... 
808.... 
809.... 



.115 
..55 



.122 
..69 



.ISO 
"53' 



.21 



950. 

951. 
1004. 
1005. 
1027. 
1029. 
1030. 
1031 . 



.168 



.107 



.170 



.so 



.S7 



.43 



.04 



. 10 
.70 

.62 



.SI 



.US 
..32 



.88 



.85 



.90 



.23 



.20 



.29 



810 




31 


811 




30 


867 

S71 
872 


... 165 
14S 


32 


S73 




33 






34 


875 

876 
906 


146 

. . 147 


..35 









.37 



BIBLIOGRAPHY 



247 



Listed in 

Present Listed by Listed by Listed by 

Volume Mr. Bocher Mrs. Palliser Mr. Strange 

as book No. as book No. as book No. as book No. 



Listed in 

Present 

Volume 

as book No. 


Listed by 
Mr. Boeher 
as book No. 


Listed by 
Mrs. Palliser 
as book No. 


Listed by 
Mr. Strange 
as book No. 


1402 








59 


1403 






....101 




1409 








57 


1410 


....ITS 








1411 


....176 








1413 


177 








1420 






74 




1421 






47 




1422 








61 



1032 






10S4 

1109 


121 


105 


1110 




106 


1111 

1141 


156 




1155 . 




18 


1195 




102 


1203 

1214 


....83 
26 




1217 




38 


1218 




SO 


1219 

1220 


....134 


34 


1231 

1232 

1233 


72 

..73 




1234 


1250 




OQ 



1253. 
127S. 
1285. 
1296. 
1297. 
129S. 
1311. 
1313. 
1316. 
1317. 
1318. 
1319. 
1320. 
1322. 
1323. 



.187 
..26 
..79 



.123 
.153 



.108 



.109 



.84 



1370. 
1371. 
1372. 
1374. 
1398. 
1400. 



.49 



.13 



.24 



38 



39 



41 



42 
43 



.44 



.45 



.46 

.4S 
.49 



1341 


56 




1342 


57 




1343 . 


. .58 




1344 




...28 


1345 


60 




1346 


61 




1347 


60 bis 




1348 


81 




1349 


81 bis 




1350 




...39 


1351 


1352 




...'7 


1354 


. . . .110 




1355 


111 




1356 


151 bis 




1358 


154 




1359 


155 




1360 


75 




1361 


76 




1362 






1363 






1364a.... 


6 




1365 


....116 




1366 


117 




1367 


....118 




1368 


....119 




1369 







56 



1425. 

1429. 

1438. 

1440. 

1441. 

1461. 

1462. 

1463. 

1465. 

1466. 

1490. 

1491. 

1492. 

1493. 

1498. 

1523. 

1537. 

1566. 

1567. 

1575. 

1580. 

1581. 

1.-.S2. 

1583. 

15S4. 

15S6. 

1596. 

1624. 

1625. 

1626. 

162S. 

1636. 

1637. 

1638. 

1639. 

1642. 

1644. 

1645. 

1646 

1649 



54 



50 
.51 
.52 
.53 



.58 



1736. 
1737. 
1755. 
1758. 
1759. 
1767. 
1769. 
1791. 
1795. 



.70 



..78 
.172 
.173 
..89 
..90 



.91 
.92 
.28 
.29 



..30 
.126 
.181 
..62 
.162 
.161 
.144 
..80 
.125 
.124 
.159 
.160 
..87 
...1 
.112 



.42 



.133 



.139 
.140 



.150 
.151 
.127 
..54 
..63 
.182 
.158 
..50 
..46 



.54 



.62 



.63 



.61 



.65 



.110 



.94 
.93 



.109 



.90 



1650 


1651.. 


1667 


1686 




12 


1713 ' 


1722 




79 


1730 

1731 

1734 


142 
143 





69 

70 
67 
71 

72 



73 



248 



A LACE GUIDE FOR MAKERS AND COLLECTORS 



Listed in 

Present Listed by 

Volume Mr. Bocher 

as book No. as book No. 



Listed by Listed by 

Mrs. Palliser Mr. Strange 
as book No. as book No. 



Listed in 

Present Listed by Listed by Listed by 

Volume Mr. Bocher Mrs. Palliser Mr. Strange 

as book No. as book No. as book No. as book No. 



1796 


35 




1797 


36 




179S 






1799 


37 




1800 


3S 




1S01 




....20 


1802 


39 




1803 




21 


1S04 


41 




1805a.... 


40 




1806 


120 




1809 


152 




1810 




22 


1S11 




23 


1814 


85 




1815 


12 




1817 


11 




1S18 







1869 



.136 



1S19. 
1820. 
1821. 
1822. 
1823. 
1824. 
1825. 
1826. 
1828. 
1829. 
1830. 
1831. 
1832. 
1836. 
1842. 
1843. 
1868. 



.14 



.15 
.16 
.17 
.18 



.19 

.20 



81 



. i ( 
.11 
.11 



.S3 

.78 



.78 



.SO 



.84 
.79 



.108 



1870 


1871 

1872 


9S 




1873 




..98 


1874 




65 


1875 




65 


1876 




66 


1878 




67 


1879 

1880 


96 


68 


1881 




69 


1882 . . . 
1885 


97 


70 


18S6 

1887 


99 




1888 

1889 

1S90 

1891 


. . 100 

. 101 

102 


71 


1892 

1893 

189S 

1899 

1908 

1909 


103 
106 

S 

2 

...,186 


119 


1910 

1937 


1S9 


73 


1948 

1949 

1950 


. . 1S5 
10 


5 


1951 

1952 


34 




1954 

1955 


68 

67 





90 
89 



86 



91 



For the facsimiles here noted of early pattern books, see : Amand-Durand, 
Cocheris, Munster, Ongania, Quariteh, Eicci, Seemann, Wasmuth. 



NOTE 

Owing to a re-arrangement made necessary by the inclusion of several new titles, the fol- 
lowing numbers have been omitted from the Bibliography: — 794, 1055, 1307, 1424, 1456, 1464, 
1478, 1479, 1576, 1658, 1883. 

For the same reason the following interstitial ones have been added: — 747a, 881a, 902a, 
1516a, 1756a, 1805a, 1889a, 1949a. 



BIBLIOGRAPHY 249 

1.— Acker, M. E.— Crocheted Doilies. Harper's Bazaar, V. 36, pp. 275-277, 

March, 1902. 
2 — Adda, Girolamo d' — IV Art et 1 'Industrie auxXVIe et XVLTe siecles. Essai 

bibliographique sur les aneiens modeles de lingerie, et de dentelles et de 

tapisseries, etc., en Italie. Paris, 1863. 
3 — Adda, Marqnis Girolamo d' — Essai bibliographique sur les aneiens Modeles 

de Lingerie, Dentelles, etc. Gazette des Beaux Arts, 1863, V. 15, pp. 342- 

359; 1864, V. 17, pp. 421-429; 1864, V. 17, pp. 430-436. 
4 — -Adda, Grirolamo d' — Essai bibliographique sur les aneiens modeles de lin- 
gerie, de dentelles et de tapisseries, graves et publies en France, en Al- 

lemagne et en Flandre. Paris, 1864. 
5 — Adda, Girolamo d' — Le Lit de Castellazzo. Gazette des Beaux Arts, 1863, 

V. 14, p. 97. 
6 — Agnew, Lilly, at Dublin — Projets de dentelles modernes. Paris, Art ap- 
plique, 2e annee. 
7 — Aktion zur Hebung der Spitzenhausindustrie in Osterreich, Die. Kunst und 

Kunsthandwerk, 1905, Vienna. 
8 — Album de 1 'Elegance Franchise (Exposition Internationale de Liege, 1905). 

Couture, Dentelle, Broderie, Passementerie. Numero special de Dentelle 

et Broderie, Paris, 1905. 
9 — Album de 1 'Exposition de Part ancien Brux. 1884. La Dentelle. 30 pho- 

togr. avec notice par Beusens. Paris gr. in-fol. 
10 — Album of 2241 original, pricked, pen and ink patterns for bobbin lace (Lille 

type), Couvet (Canton de Neuchatel, Switzerland), April 6. 1796, Chev. 

Amy (see pricking No. 322). On pattern No. 310 is written "Justicier 

Besancent": on pattern No. 311 — "Justicier Besancenet": on pattern No. 

347 — "pour Leonard": on pattern No. 606 — "fait par Petitpierre " : and 

several are marked "Henriod Nre." Owned by Miss Gertrude Whiting. 
11 — Album russischer Leinenstickereien. 2 Lieferungen. 21 Blatt sehr fein in 

Farben ausgefiihrt. 4to. St. Petersburg, 1882. 
12 — Alco, Madam Louise D' — Traite de la dentelle aux fuseaux. Paris. 
13 — Aldisio, Nicolas de — Les Tissus et les Dentelles de Perouse. Art decoratif, 

Paris, 1912. Tome 14, pp. 343-350. 
14 — Alexandre, A. — Les Beines de 1 'Aiguille, Modistes et Couturieres. With 

about 50 charming etchings (several full-page) by Francois Courboin, 

Paris, 1902. Collection of upwards of 200 original drawings of designs 

for Lace of various and elegant patterns. 
15 — Alexander, Mrs. Hirst — Art Handicrafts for Gentlewomen. The Lady's 

Realm, London, 1901. 
16— Allen, M. E.— Handicrafts in Old Deerfield, Outlook, V. 69, pp. 592-597, 

Nov. 2, 1901. 
17 — Allerhand Model zum Stricken un Nahen. Cat. Evans, Strand. Obi. 4to, 

64 plates. No date. 
18 — Alphabets for Samplers, etc. — Pott, A. — Neue Zierschiften fiir Weissund 

Kunst— Steckerei. Obi. fol. Hamburg, 1869. S. K. M. 



250 A LACE GUIDE FOR MAKERS AND COLLECTORS 

19 — Alq, L. d'— Traite de la deritelle au fuseau. Dentelles de Mirecourt, Valen- 
ciennes, Malines, Flandre, etc. 112 engravings. Paris, 1879. 

20 — Alvin, L. — Les anciens patrons de broderie, de dentelle et de guipure. Brus- 
sels, 1863. 

21 — Ambrosiani, Vincent — L 'Exposition romaine de tapisseries, tissus, dentelles, 
etc. Revue de V Art chretien, 1887. 

22 — American Eevival of an ancient craft ; Italian embroidery. Outlook, V. 96, 
pp. 800-801, Dec. 10, 1910. 

23 — Anker, E. — Muster — Album fur Haekel-Arbeiten. (18 double plates, con- 
taining 137 examples). 4to. Leipzig, 1887. S. K. M. 

24 — Antonelli, Dott. Nicola — Dell' Arte dei Merletti. Letto a Pisoniano il 30 set- 
tembre, 1901 — Annexe: Genoveffa Frigerio in Borzaccbini. Como ebbi 
idea cli istituire la Scouola di Merletti a fuselli. Enrico Boretti, Rome, 
1902. 

25 — Archives de la ville de Grand. Begistre G. G. Fo. 123V. — Voorgeboden, serie 
108 bis, No. 184. 

26. — Arendt — Becbercher les origines de la fabrication des dentelles. Speciale- 
ment dans les Flanders, specifier leurs diverses especes, etc. 

27 — Aristotle, Nicolo d' — Gli universali de i belle ricami — anticbi e moderni. 
Anno, 1530, Venice. 

28 — Aristotile, Nicolo d' — Esemplario di lavori doue le tenere fanciulle et altre 
donne nobili potranno facilmente imparare il modo et ordine di lavorare, 
cusire, etc. 1878, facsimile of edition of 1530. [See Zoppino (Aristo- 
tile detto.)] 

29 — Armand-Durand — Livres a. Dentelles. Paris, 1887. 

30 — Armand-Durand — Reproductions and prints of laces. Vol 1-5. (Collection 
of Kursbeedt Manufacturing Co.) 
Armand-Durand. See No. 623. 

31 — Arts de la Vie et du Foyer, Les. La Dentelle. Revue Univ., March, 1901, 
Paris. 

32 — Aubert, Felix — Dentelles, etc. : Col en dentelle polychrome : volants et even- 
tail, etc. L'Art decoratif. Paris, 1901. 

33 — Aubert, Felix — Entwiirfe fur Spitz en und Stickereien. 

34 — Aubert, Felix — Nouveaux even tails et chale en dentelle polychrome. L'Art 
decoratif, Paris, 1899. 

35 — Aubert, Felix — Projets de Dentelles et de Broderies. Paris, Librairie cen- 
trale, 1904. 30 pla.tes, folio. 

36 — Aubrey, Felix — Dentelles de 1 'Exposition Universelle de 1867. Rapport du 
Jury International. 

37 — Aubrey, F. — Rapport sur les Dentelles, etc. fait a la Comm. Franchise du 
Jury International de 1 'Exposition Universelle de Londres. 8vo. Paris, 
1854. S. K. M. 

38 — Aubrey, F.i — Dentelles, tulles, broderies, et passementeries. Paris Exhib. 
1867, Reports, vol. IV., p. 233. 13 vols. 8vo. Paris, 1868. S. K. M. 

39 — Aufseeser, Ernst and Kathleen— Gauze Embroideries. International Studio, 
V. 46, pp. 153-154. April, 1912. 



BIBLIOGRAPHY 251 

40 — Austin, Ern. J. at Norwood — Projets de dentelles niodernes. Art applique, 
2e annee, Paris. 

B 

41 — Babbitt, Florence S. — Samplers I Have Bead About, Seen and Owned. Mich- 
igan Pioneer and Historical Society, Collections and Researches. V. 38, 
pp. 351-355, 1912. 

42 — Babrfeldt, E. — Die Ausstellung von Stickereien, Hakel und Knupfarbeiten 
des Museums scblesischer Alterthumer zu Breslau. "Kunstund Gewerbe," 
Vol. XVII., p. 368, 4to. Nurnberg, 1883. S. K. M. 

43 — Bainbridge, Mabel P. — A Beginner's Lace Collection. House and Garden, 
Dec, 1918. 

44 — Bainbridge, Mabel P. — Early Lace Making in America. House and Garden, 
April, 1916. 

45 — Balachoff, L. L. — Recueil d'Ornement. 55 plates. P. Ducber. (Collection of 
Kursbeedt Manufacturing Co., N. Y.) 

46 — Baldwin, E. F. — Woman's Work for Women in Italy. Outlook, V. 81, pp. 
185-189, Sept. 23, 1905. 

47 — Baler, James — The Needles Excellency, a new Booke wherein are divers ad- 
mirable Workes with the Needle. Newly inuented and cut in Copper for 
the pleasure and profit of the industrious. Le frontispice represente trois 
dames, Sagesse, Industrie, Folie, au milieu d'un jardin. Puis viennent 
plusieurs pieces de vers composees par John Taylor a la louange de 1 'ai- 
guille et aussi en l'honneur de quelques dames industrieuses telles que la 
reine Elisabeth et la comtesse de Pembroque. Au-dessous de cette 
gravure : Printed for James Baler and are to be sold at the signe of the 
Marigold in Paules Church yard. The 12th Edition in larged Wth divers 
newe workes as needle workes, purles et others neuer be fore printed, 1640. 
Piece de vers intitulee The Fraise of the Needle. Puis commencent les 
broderies qui ne sont imprimees qu'au recto et qui sont toutes numerotees 
en chiffres arabes en bas a la pointe, a gauche de la planche. Ces broderies 
jusqu'a la planche 23, paraissent etre des copies de l'ouvrage allemand de 
Siebmacker.. Les autres sont d'un caractere different. Elles sont au nom- 
bre de 29. Done en tout: le Frontispice, 4 feuillets preliminaires et 29 
planches de broderies. In-4° oblong. [See No. 48.] B. M. L. 

48 — Baler, James — The needles excellency, a new booke wherein are divers ad- 
mirable workes wrought with the needle. Newly invented and cut in cop- 
per for the pleasure and profit of the industrious. Printed for James Bo- 
ler, &c, 1640. Beneath this title is a neat engraving of three ladies in a 
flower garden, under the names of Wisdom, Industrie, and Follie. It ap- 
pears the work had gone through twelve impressions. . . From the cos- 
tume of a lady and gentleman in one of the patterns, it appears to have 
been originally published in the reign of James I. — (Douce.) From this 
description of the frontispiece, it seems to be copied from Sibmacher. The 
Needle's Excellency, or a new Book of Patterns, with a poem by John Tay- 
lor, in Praise of the Needle. London, 1640. Obi. 4to, engraved title, and 28 
plates of patterns. Another copy of the same date, marked 12th edition, 



252 A LACE GUIDE FOR MAKERS AND COLLECTORS 

is in the Library of King's College, Cambridge. It consists of title, four 
leaves with the poem, subscribed John Taylor, and 31 leaves of copper 
cuts of patterns. [See No. 47.] 
— -Balthazar, Sylvius — see DuBois. 



49 — Balthaazar, Sylvius — Variarum protractionum (1) quas Vulgo Maurusias 
vocant (2) omnium antehac excusarum, libellus longe copiosissimus pic- 
toribus, aurifabris, polymitariis (3), barbaricariis (4), variis que id genus 
artificibus, etiam acu operantibus, utilissimus, nuncque primun in lucem 
editus, anno 1554. Balthazar Sylvius (5) fecit. Io Theodor, et lo. Is- 
rael de Bry, excud (6). 24 feuilles gravees sur cuivre y compris le titre. 
Les feuilles sont toutes imprimees d'un seul cote. (1) Entrelacs, mean- 
dres, arabesques. (2) Moresques. Voyez Ducange, Glossarium medice et 
infimce latinitatis, qui cite ce livre a propos du mot Maurusias. (3) Tis- 
serands. (4) Damasquineurs. Azzimistes. (5) II est ainsi nomme a, la 
page 104 de l'ouvrage de Firmin Didot. Essai sur 1'histoire de la gravure 
sur bois. Paris, 1863. (6) Plusieurs pieces parmi les faiences dites de 
Henri II, sont ornees d 'entrelacs dont le dessin se trouve dans cet ouvrage 
de Balthazar Sylvius. In-4° oblong. Bibliotheque Nationale. — Cabinet 
des Estampes. 

50 — Barber, Bernard, at Nottingham — Projets de rideaux de dentelles. Art ap- 
plique, Ire annee, Paris. 

51 — Barbour Bros. Imperial Macrame Lace Book. New York, 1882. 

52 — Barcelo G. — La Barcelo tecnia ossia Parte di ritessere e di restaurare ogni 
specie di stoffa di imitare e restaurare qualunque sorta di merletti e di cos- 
truire delle tappezzerie in figure, fiori e rabeschi in mosaico di panno. 1 
vol. de texte et 1 vol. de 47 planches grav. Eoma, 1859. 

53 — Barley, William — A Booke of Curious and strange Inuentions, called the 
first part of Needleworkes, containing many singuler and fine sortes of Cut- 
workes, Baisde-workes, Stiches, and open Cutworke, verie easie to be 
learned by the diligent practisers, that shall follow the directions herein 
contained. Newlie augmented. First imprinted in Venice and now agame 
neaivly printed in more exquisite sort for the profit and delight of the Gen- 
tlewomen of England. For William Barley, 1596. B. M. 

54 — Barrett, L. — New Ideas in Lace-making. Ladies Home Journal, V. 19, p. 
23, February, 1902. 

55 — Bartko, Kurt — Blumen und praktische Muster fur Spitzen. Plauen. C. 
Stoll, 1910. 

56 — Bartko, Kurt — Irish Lace. Plauen, K. Bartko, 1910. 

57 — Baseus, Nicholas — Pattern Book, 4 editions. Frankfort, 1568. 4to, 40 pp. 

58 — Basset, Nicholas — Ein new getruckt model Buchli, auff ausz nehen unnd bort- 
ten wircken ynn der laden, unnd lanngenn gestell. Ganntz gerecht nach 
abteilung der feden tzal. Sans lieu. In-4° gothique. Titre a. clairevoie, 
sans encadrement. En resume 24 feuillets dont 45 pages de dentelles et 
de broderies a deux ou plusieurs modeles a la page. La plupart de ces 
patrons se retrouvent dans les volumes publies par Claude Nourry. Us 
ont de nouveau vu le jour dans le New Modelbuch, publie a, Francfort en 
1569, par Nicolas Basset. Vente Destailleurs, 1895. 



BIBLIOGRAPHY 253 

59 — Basset (Baseus), Nicolas — New Modelbuch, von allerhandt Art Neliens uud 
Stickens jetz mit viellerley welshe arbeyt, model und stahlen alien stein- 
metzen, seidenstickern, und Naterin, sehr nietzlich und Kiinstlich von 
newen zugericht. Getruckt zu Francfnrt am Meyn. Anno 1569. En des- 
sous du titre et au-dessus de l'adresse de l'imprimeur et du millesime, un 
medaillon circulaire dans lequel se detache snr un fond noir, un profil d'hom- 
me regardant vers la droite. C 'est le portrait de l'imprimeur Nicolas Basset. 
Ce medaillon est encastre dans le haut d'un ovale entoure de cuirs roules, 
de rinceaux et porte en haut au milieu, un petit vase aux deux cotes duquel 
est un oiseau. Au-dessus du medaillon dans l'interieur de 1 'ovale, N. B. 
In-4°. Page non cotee. Au verso de cette page, la marque de Nicolas 
Basset. 52 feuillets. Le marquis d'Adda dans sa bibliographie en sig- 
nale une edition de 1568. Vente Destailleurs, 1895. 

60 — Baseus, N. — New modelbuch. Von allerhandt Art, Nehens und Stickens, 
jetzt mit viellerley Welscher Arbeyt, Model und Stahlen, alien Steinmet- 
zen, Seidenstickern und Neterin, sehr niitzlich und kunstlich, von newen 
zugericht. Getruckt zu Frankfurt am Mayn, 1571. Device and motto of 
Nicolas Baseus on title-page. Sm. 4to. 153 woodcut patterns. Lib- 
rary V. and A. Museum. 

61 — Basset, N. — New modelbuch von Allerhandt Art, Nehens und Stickens . . . 
Getruckt zu Franckfurt am Mayn, M. D. LXXI. [Mark of Nicolaus Ba- 
seus, dated 1570, on titlepage.] 4°. Title and 39 cuts. On sheet 1-4 is 
a design of the Wounds of Christ, dated 1564. V. & A. M. 

62 — Basset, N. — [45 leaves of similar patterns, printed on both sides. On last 
page:] Getruckt zu Franckfurt am Mayn, in dem Rosen Eck, by Niclas 
Bassee. V. & A. M. [See No. 61.] 

63 — Basset, N. — [Another edition.] Gedruckt zu Franckfurt am Mayn. M.D.- 
LXXXVIII . . . durch Nicolaun Basseum. B. K. M. [See No. 61.] 

64 — Baseus, N — New Medelbuch von allerhandt art Nehens, Wirckens, und 
Strickens, ietz mit vielerley welscher arbeyt modelvncl stahlen alien stein- 
metzen Gei denstickern und naterin sehr niitzlich und Kunstlich von neu- 
wen zugericht. Gedruckt zu Francfnrt am Mayn, MDLXXXX (1590). 
Sur ce titre, un neuron compose d'un ovale encastre dans un cartouche or- 
nemente de rinceaux sur lesquels on voit en bas debout a, gauche Adam, 
a droite Eve. En haut assis tous les deux, a gauche Aaron, a droite Mo'ise. 
Dans l'interieur de 1 'ovale, un personnage agenouille de profil a droite, les 
deux mains jointes devant lui. En haut le bon Dieu sur un nuage. Au 
fond deux collines sur le haut desquelles on voit des villes et leurs murail- 
les. Sur la bordure qui entoure la composition on lit : Nicolaus Baseus 
excelsus. Dominus & humilia respicit et alta. A. Loge Considerat. P. S. 
138, 1590. Gedruckt zu Franchfurt am Mayn durch Nicolaum Bassacum 
MDLXXXX (1590). En tout 40 feuillets, 77 planches de broderies im- 
primees au recto et au verso. II existe de ce livre une edition datee 1569. 
Voir vente Destailleurs. In-8° Oblong. Bibliotheque Nationale. 

65 — Battenberg Manual (Renaissance, Flemish, Arabian Lace). Henry Franken- 
berg, New York, 1901. (Collection of Kursheedt Manufacturing Co., 
N.Y.) 



254 .1 LACE GUIDE FOR MAKERS AND COLLECTORS 

66— Battey, E. V.— Love of Lace. Harper, V. 53, p. 679. 

67 — Bayard, Einile — L'Art cle Reconnaitre les Dentelles, Guipures, etc. Paris, 
1914. R. Roger et F. Chernoriz. 

68 — Be, Pierre Le — Bele Prerie, contenant divers caracteres et differentes sortes 
de lettres alpbabetiques, a scavoir letteres Romaines, de formes, lettres 
pour appliquer sur le reseuil, ou lassis et autres pour marquer sur toile 
et linges, par Pierre Le Be, Paris, 1601. In-4°, oblong. Cite dans le cata- 
logue de monsieur Picard, 1780. 

69 — Beal, J. — Les Dentelles anciennes — nouveau Cboix de Specimens de tout 
Styles, Reproductions d'apres les Originaux. Paris, A. Calavas, 1887. 28 
plates. 

70 — Beal, J. — Dentelles, Guipures et Broderies de differents Styles. Paris, A. 
Calavas, 1892. 47 plates, folio. 

71 — Beatus, M. Georgius — [Dedication to] Der Durchleuchtigen Hochgebornen 
Furstin und Frawen Loysen Julianen, Ehur Furstin unnd Psalbgraffin bey 
Rbein, Herzogin in Obern, und Nidem Bayern, ii. Gebornen Princessin zu 
Oranien, & unser Gradigen Furstin und Frawen [by] M. Georgious Beatus 
und Jobannes Ludovicus Bitcbius als Romani Beati Seligen Erben da- 
selbst. Gedruckt zu Franckfurt am Mayn bey Romani Beati Seligen Er- 
ben M. Georgii Beati unci Joliaun Ludwig Bitchen. Im Jar 1601. 77 
plates. Hamburg Mus. 

72— Becker, B. H.— Lace-Making at Nottingbam. Blackwood, V. 132, p. 477. 

73 — Becker, B. H. — Lace-Making at Nottingbam. Eclectic Magazine, V. 99, p. 
755. 

74 — Becker, B. H. — Lace-Making at Nottingbam. English Illustrated Magazine, 
May 1884, London. V. 1, p. 467. 

75 — Becker, Marie — Renaissance-Spitzen. Yelhagen & Klasings Monatshefte, 
Marcb, 1898, Leipzig. 

76 — Becker, M. — Scbon newes Modelbucb, von bundert und acbtzig scbonen 
kunstreicben und gerecbten Modeln, Teutscbe und Welscbe, welscbe auff 
mancberly Art Konnen geneet werden, als mit Zopffnatb, Creutz und Kbn- 
nen Judensticb, aucb auff Laden zu wirken, etc. 12 plates, sm. obi. 
Franckfurt am Mayn, Mattbes Becker, 1601, (Bound witb it, tbe orna- 
mental title and two leaves of a Basel pattern book of 1599). S. K. M. 

77 — Becker, M. — Scbon newes modelbucb Von bundert vnd acbtzig scboren kun- 
streicben vnd gerecbten Modeln Teutsche vnd Welscbe, welcbe auff man- 
cberly Art konnen genoet werden, als mit Zopffnatb Creutz vnd Juden- 
sticb aucb auff Laden zu Wircken-Dessgleicben von ausserlesenen Zinnigen 
oder Spitzen. Allen Seydenstickern Modelwurckerin Naderin, vnd sol- 
cber Arbeit geslissenen Weibsbildern sebrn dienstlicb, vnd zu andern Mus- 
tern anleytlicb vnd verstandig. Franckfurt am Mayn, In Verlegung 
Mattbes Beckers. M.D.C.L. 4°. 4 pp. test. Copy of Vecellio. V. & 
A.M. 

78 — Beckers, Matthes — Scbon Newes Modelbucb von bundert vnd acbtzig scbonen 
Kunstreicben vnd gerecbten Modeln, Teutscbe vnd Welscbe auff Mancber- 
ley art Konnen genut werden, als mit Zopffnatb, Creutz vnd Judensticb, 
aucb auff Laden zu wircken. Defsgleicben von auserlesenen Zinnigen oder 



BIBLIOGRAPHY 255 

Spitzen. Allen Seydenstickern, Modelwurckerin, naderin, und solcker ar- 
beit geflissenen "Weibsbildern sebr dienstlicb vnd zu andern Mustern, an- 
leytlicb vnd vesrtandig. Franckf urt am Mayn, In Verlegung Mattbes, 
Beckers, MDCI (1601). In-4° oblong. Titre et 2 fenillets. 57 fenillets. 
Cet onvrage n'est mentionne dans aucune bibliograpbie et est complete- 
ment inconnu. Le titre inrprime en rouge et noir est entoure d'un large 
dessin representant des femmes qui travaillent. Mme. Bury-Palliser dans 
sa bibliograpbie en mentionne une edition de 1605. 

79 — Beebe, Mrs. C. D. — Lace, ancient and modern. New York, Sbarps Publisb- 
ing Co., 1880. 

80 — Belgian Lace-Makers. International Magazine, V. 1, p. 123. 

81 — Belin, A. — Sensuyent lis patrons de Messire Ant. Belin, etc. sm. 4to. (im- 
perfect copy; 28 designs on 14 leaves of lace patterns, 16tb cent.) Pierre 
de Saicte Lucie, called le Prince, Lyon, n.d. S. K. M. 

82 — Belin, A. — Sensuyent les Patrons de Messire A. Belin, etc. Sm. 4to, mounted 
imperfect copy, ornamental title, and 22 patterns. Lyon, P. de S. Lucie, 
called Le Prince, n.d. S. K. M. 

83 — Belin, A. — Sensuyuent les Patrons de messire Antoine Belin, Beclus de 
sainct Marcial de Lyon. Item plusieurs aultres beaulx Patrons nouueaubr, 
qui ont este inuentez par frere Jeban mayol, carme de Lyon. 4°. 11 
leaves of cuts. V. & A. M. 

84— Belin, A., see Saincte Lucie. Also Jeban Troulon. 

85— Bell, Mrs. A.— Breton Caps. Connoisseur, V. 23, pp. 44-48, Jan. 1909. 

86 — Belleze de Eecami et Dessegni, opera nuova, nella quale si ritrovano varie 
et diverse sorti di mostre, di punti tagliati, et punti in aiere a fogliami, 
punti in stuora et altra sorte. In venetia. MDLVIII. In-8 C oblong. 1 
feuillet prelirninaire, 19 fenillets, 37 plancbes de broderies imprimees au 
recto et au verso sauf la derniere qui n'est imprimee qu'au recto. Vente 
Biva, 1856, Vente Yemenitz, 1867, Catalogue Cicognara. 

87 — Bellezze. — Bellezze de Becami, et Dessegni. Opera noua, nella quale si rit- 
rovano, uarie, & diuerse sorti di mostre, di punti tagliati, et punti in aiere, 
a fogliami, punti in stuora, et altre sorte, come nella presente uedrai. Doue 
le belle, et virtuose donne potrano fare ogni sorte di lauori, sopra Colari 
Manegbetti, & sopra tutte quelle cose, doue uanno simil lauori. Opera 
non men bella, cbe vtile, & necessaria. Et non piu ueduta in luce. In 
Venetia. L'Anno MDLVIII. Sm. Ob. 4to. 20 plates of patterns. V. & 
A. M. 

88 — Belleze de recami et dessegni, etc. Venice, 1558. Facsimile edition. 

89 — BejiOBHh, J. — CpncKH HapoAHH Bee h TeKcrajma opHaMeHTHKa. . Ca 
14 opHrHHajiHHx cjiHKa. pp 254. 1907 AKaAeMHj'a HoBHcaA. Mani- 
lla CpncKa. Ktbure. Bpoj 21. 

90 — Belovic — Vezilacka unjetnost u Hrvata i Srba. 1906. Zborink za narodni 
zivot i obicaje iuznib slavena kn. 11. 1. 

91 — Berain, Oeuvres completes de— Library of tbe Musee des Arts Decoratifs, 
Paris. Manueli Hoepli, Milan. 

92 — Bernbard and Ellen. Puntas and Passamenterie. Connoisseur, V. 24, pp. 
82-88, June, 1909. 



256 A LACE GUIDE FOR MAKERS AND COLLECTORS 

93 — Berry, Marguerite du — La Dentelle. Paris, Gamier, Freres, 1906. B. M. 

94 — Bert, F. — Musee de Fabrique de F. B. Professeur de Theorie de Tissage, 
a Lyon. (Cat.) fol. Lyon, 1855. S. K. M. 

95 — Bertling, Richard — Anton Moeller's Danziger Frauentrachtenbuch, 1601. 
Facsimile, mit Text von A Bertling. Danzig, Bicb. BertUng, 1886. 

96 — Bertrand, Jules — Le Livre d'or de St. Pierre les Calais. Histoire des den- 
telles, des tulles et de leur fabrication. Calais, Imp. Tartar-Crespin, 
1885. 

97 — Bethune, Bon Joseph — Pour le commerce de Dentelles. Cercle historique et 
archeologique de Courtrai, 1903-1904. 

98 — Bezon— Dictionnaire general des tissus anciens et modernes. Lyon, 1836. 

99 — Biais, Th. — Etude sur les Broderies, Dentelles et Etoffes a, 1 'Exposition d'An- 
vers, en 1885. Paris, Impr. A. Lahure, n.d. 

100 — Biddle, C. H. — Mansion house exhibition, 1883. Irish lace : a history of the 
industry with illustrations and a map. (Signed at the end by Ben Lind- 
sey and C. H. Biddle.) London. (1883.) 8°. 

101 Biechy, Elise — Spitzenmuster. Zeitschrift des Kunstgeiverbevereins in 
Miinchen, 1881. 

102 — Bille, Jacques — Carton de dentelles. L'Art decor atif. March, 1902, Paris. 

103 — Binding or Overcast Stitch. Ladies Home Journal, V. 24, p. 39, March, 
1907. 

104 — Bindoni, Giov. ant. — II monte (Libro secondo). Opera nuova di recami, di 
punto tagliato a fogliami, dove ogni bella donna potra fare ogni sorte di 
lavori cioe colari, fazzoletti, maneghetti, avertadure. In Venetia, 1560. 
Au verso du titre une dedicace : Giov. ant. Bindoni, alia signora Vittoria 
da Cordova dans laquelle il faut noter les mots suivants. . . . Ho presso 
ardimento di presentavi questo secondo monte, il quale. ...,&. The dedi- 
cation dates 1559. Suivent 15 feuillets chiffres avec 25 planches de bro- 
deries. Vente Santarelli, Chez M. Bigazzi a Florence. 

105 — Bindoni, G. Antonio — Ricchezze, Opera di Recami intitulata le Richezze. 
Delle bellissime et virtuosissime donne, Nella quale si ritrova varie sorti 
di punti tagliati, et di punti in aire, dove facilissimamente, et senza fatica 
alcuna, ogni virtuosa donna, potra lavorare cavezzi di varie sorti, colari, 
merli, da cavezzi, avertadure da huomo et da donna, manegheti, merli da 
mele da cusini, over forete, maneghe da camise et da vesture, et altre varie 
sorte di frisi, et mostre, si come veder potrai, ridotte alia vera grandezza, 
forma et misura che debbono essere, ne mai piu pu l'adietro vedute da 
niuno. Opera non meno utilissima che necessaria. A la fin. In Venetia 
l'anno MDLVII (1557) a la Libreria de la Gatta. Des exemplaires por- 
tent MDL VIII. Premiere edition d'un ouvrage tres rare et non cite. Elle 
comprend en tout 10 feuillets et 13 planches de broderies, dont 5 sont de 
doubles grandeurs. Le recto du premier feuillet contient le titre donne 
ci-dessus, et une dedicace, de G. Antonio Bindoni, datee du 3 avril 1557. La 
souscription occupe seule le verso du dernier feuillet. Vente Benedetto 
Maglione, 1894. 

106 — Bindoni, Gio. Antonio — Riochezze, Opera nova di Recami intitulata le 
Richezze delle bellissime et virtuosissime donne nella quale si ritroza varie 



BIBLIOGRAPHY 257 

sorti di punti tagiiati et punti in aiere, dove facilissimamente et senza fa- 
tica alcuna ogni virtuosa donna potra la vorare cavezzi. . . . 

A la fin, In Venetia l'anno MDL Villi (1559.) A la libreria de la 
Gatta. 3 parties en un volume in-folio. Libro primo. 12 ft:, avec 
planches de broderies gravees sur bois, dont plusieurs sont de double 
grandeur. La primiere page contient le titre et au-dessous un avis 
de Gio- Antonio di Bernandino Bindoni alle virtuose donne, date de Venise, 
3 avril 1557. Libro seeondo, 12 ff. avec broderies, titre et dedicace de Bin- 
doni a Lucretia Soncina gentil donna Paduana sur la premiere page. La 
derniere page est blanche. La 3° partie a pour titre : Bichezze. Opera di 
Becami intitulata : Le Bichezze. Elle a 22 ff. Le premier feuillet con- 
tient le titre et au-dessous une dedicace de Bindoni. Au-dessous de la 
planche au recto du dernier feuillet, se trouve la mention : II fine. Plu- 
sieurs planches sont de double grandeur. Vente Piot, 1891. 

107 — Binetti-Vertua, Caterina — Trine e Bonne Siciliane. Ulrico Hoepli, Milan, 
1911. 

108 — Birdwood, Sir G. C. M. — Industrial arts of India. (Lace and Needlework, 
Vol. 2, p. 68.) S. Kensington Mus. Art Handbook, 2 vols. 8vo. London, 
1880. S. K. M. 

109 — Black, C— Lace Industry. Living Age, V. 237, pp. 415-425, May 16, 1903. 

110 — Black, C. — The Lace Industry. Monthly Review, 11, No. 1, p. 92. Eclectic 
Magazine, 141 -.65. 

Ill — Blackborne, Arthur — Catalogue of the famous Blackborne Collection of 
Laces. New York, American Art Association, 1908. See "Lace Collec- 
tion of Arthur Blackborne." 

112 — Blackburn, Miss G. — Volant de berthe en dentelles. L'Art decoratif, 
November 1899, Paris. 

113 — Blais, T. — Exposition universelle, 1878. Les Tisus et les Broderies. Extr. 
de la Gaz. de Beaux Arts, Dec. 1878. 8 vo. Baris, 1879. S. K. M. 

114 — Blais, T. — Les Industries d'Art au Champ de Mars. Les Tissus et les 
Broderies. "Gas de Beaux Arts" 2nd ser., Vol. XVIII, p. 931. 8vo. 
Paris. 1878. S. K. M. 

115 — Blanc, C. — L'Art dans la Parure et dans le Vetement. 8vo. Paris, 1875. 
Another ed. (Dentelles, p. 188. 8vo. Paris, 1887.) 

116 — Blanc, C. — Art in Ornament and Dress. (Translation of the above.) 8vo. 
Lond. 1877. 

117 — Blanc, Charles — Grammaire des Arts decoratifs. Dentelles. Gazette des 
Beaux-Arts. 1874, Paris. 2nd Series, Vol. IX, p. 211, 8vo. 

118 — Blanchon, H. L. Alph. — Au pays des dentellieres (Le Puy). Le Monde 
moderne, October 1902, Paris. 

119 — Bland, Mrs. — Malacca Lace. (Boval Asiatic Society — Straits Branch.) 
Journal No. 45, 1906, pp. 273-277. 

120 — Blau, Josef — Die Spitzenkloppelei in Neuern (Bohmerwald). Extr. Zeit- 
schrift fur osterreichische Volkskunde, 1904. Vienna, 1905. 

121 — Blaufuss, Frl. H. — Spitzeneinsatz. Zeitschrift des Kungstgeiverbe-Ver- 
eins in Miinchen, 1881, Munich. 

122— Bloch, Sol. M.— On vogue for laces. N. Y. Times, July 15,11 :4. 



258 A LACE GUIDE FOR MAKERS AND COLLECTORS 

123 — Booker, Emmanuel — Livres a dentelles reproduits pur Amand-Durand 

sous la direction d 'Emmanuel Booker, Paris, Amand-Durand, 1883 and 

1887. 
124 — Booker, Emmanuel — Manuel des Travaux a 1 'Aiguille. 3 vols., Le Filet 

Brode, La Frivolite, Les Glands, etc. Paris, Librairie Damascene Mor- 

gand, 1911. 
125 — Bock (Dr. F.) — Besckrebender Katalog einer Sammlung von Spitzen und 

Kanten, etc. (Coll. purckased by tke Museum at Dresden.) 8 vo. Aix, 

n.d. S. K. M. 
126 — Bock, Dr. Franz — Die textilen Byssus. Aacken, 1895. 
127 — Bock, (Dr. F.) — Gesckickte der Liturgiscken Gewander des Mittelalters, 

etc. Plates. 3 vols. 8vo. Bonn, 1859-71. S. K. M. 
128 — Bock, Dr. Fr. — Les Dentelles religieuses d'apres les modeles du Moyen 

Age. Le Beffroi. Vol. Ill, 1866-1870, Bruges. 
129 — Bodli, J. — Magyar czipesz szakismertclo konyv. Ill pp. Budapest, 1892. 

8vo. B. M. 
130 — Boekn, Max von — Die Mode, Menscken und Moden im 17., 18. und 19. Jakr- 

kundert. Nack Bildern und Kupfern der Zeit, ausgewaklt von Ostr. 

Finkel, mit Text von Max von Boekn. 5 vols. 
131 — Bofarull, Carles de — Encajes a Mano. Museum Barcelona, 1912. 
132 — Boisseree (S) — Ueber die Kaiser- Dalmatika in der St. Peterskircke zu 

Bom. Plates. 4to. n.p., n.d. S. K. M. 
133 — Bonnand, Etienne — Autour d'une loi (sur la Dentelle). La Dent elle ,1905, 

Paris. 
134 — Bonnand, Etienne — Comment on cree un dessin de dentelle. La Dentelle, 

1904, Paris. 
135 — Bonnand, Etienne — La dentelle et dessin dans nos establissements d'edu- 

cation. La Dentelle, 1904, Paris. 
136— Book of Patterns for Point Lace. Paris 1623. 4to. Walpole's sale, 1842. 
137 — Borckgrave, E. de — Histoire des colonies beiges en Allemagne et en 

Autricke. 
138 — Borner, Bruno — Colored Patterns for Cross Stitok Work. 25 patterns. 

(Collection of Kurskeedt Manufacturing Co., New York). 
139 — Borner, Bruno — Colored Patterns for Cross-stitck. 51 plates. (Collection 

of Kurskeedt Manufactm-ing Co., N. Y.) 
140 — Bottomley, H. T. — How to make tke faskionable filet lace. Harper's 

Bazaar, v. 47, p. 241, May 1913. 
141— Bowdoin, W. G.— Point and Pillow Lace. Artist, v. 27, pp. 257-262, 312- 

316. 
142 — Brackett, A. M. — Italian Lace. The Art Workers Quarterly, July, 1902, 

London. 
143 — Branckardiere, Mile. R. de la — Tke Book of Greek and Roman Lace. 

Illus. London, 1859. obi. 24o. 
144 — Branckardiere, Mile. R. de la— Tke crocket book. London, 1847. So. 
145 — Branckardiere, Mile. R. de la — Tke Crotcket Book of Emblem Antima- 
cassars, etc. obi. 4to. Lond. 1874. S. K. M. 



BIBLIOGRAPHY 259 

146 — Brancliardiere, Mile. R. de la — The Irish Lace Instructor: containing 
original designs for Spanish Point, etc. (Illus.) obi. 4to. Lond. 1886, 
Simpkin, Marshall & Co. S. K. M. 

147 — Brancliardiere, Mile. R. de la — Lacework, etc. Selected. Vol. 2. 1905. 

148 — Brancliardiere, Mil. Riego de la — Modern Orris Lace. 20 pp. London, 
1885. obi. 8o. B. M. 

149 — Brancliardiere, Mile. Riego de la — The Netting Book for Guipure d'Art, 
etc. London, 1868. 16 mo. 

150 — Brancliardiere, Mile. Riego de la — The Point Lace Sampler, 1871. 

151 — Brancliardiere, Mile. R. de la — Royal Jubilee Crochet Book. 1887. 

152 — Brancliardiere, Mile. Riego de la — The Royal Point Lace Instructor, 1870. 

153 — Braun, Jos. — "Winke fur die Anfertigung und Verzierung der Paramente. 
Fribourg in Brisgau, Libr. Herder, 1904. 

154 — Braunmiihl, C. von — Das Kunstgewerbe in Frauenhand. 4to. Leipzig 
(1885). S. K. M. 

155 — Braunmiihl (C. von) — Uber Technik und Entwickelung der Spitzen. 
"Kunst und Gewerbe," Yo\. XVI., pp. 33, 65. 4to. Niirnberg, 1882. 
S. K. M. 

156 — Brazza, Cora A., Slocomb di — A Guide to old and new Lace in Italy, ex- 
hibited at Chicago in 1893. Chicago, W. B. Conkey & Co., 1893. B. M. 

157 — Brenan, James — Marketing of Irish Lace. See : Ireland Industrial and 
Agricultural, Dublin, 1902. 

158 — Brenan, James — The Modern Irish Lace Industry. Journal and Proceed- 
ings of the Arts and Crafts Society of Ireland, 1898. 

159 — Brenan, James — The Modern Irish Lace Industry. See: Ireland Indus- 
trial and Agricultural, Dublin, 1902. 

160 — Brenan (J.) — Report on a visit to Paris and Belgium respecting the 
manufacture of needlepoint lace. By J. B. School of Art, Cork, 1887. 
Sm. 4to. ph. S. K. M. 

161 — Breton, Gaston le — La Tissuterie Ancienne. Gazette des Beaux Arts, 
Paris, 1883. Tome 27, pp. 61-76, pp. 170-175. 

162 — Bretschneider, A. — New Modelbuch Darinnen allerley kunstliche Virsirung 
und Muster artiger Zuege und schoner Blummen zu zierlichen Ueber- 
schlagen, Haupt Schurtz Schnuptuchern Hauben Handschuhen, TJhren 
(!) gehenzen, Kampfii tern und dergleichen auf Muhler naht und Seiden- 
stucker arbeit gantz Kunstlich gemahlt und vorgerissen, dergleichen sie 
bevorn noch nie in Druck ausgegangen. 16 Leipzicht 19. Inn Verlegning 
Henning Grosseren, de Jungeren Andreas Bretschneider Mahller. Small 
folio, 53 plates, and half a sheet of text. Bibliotheque publique de Cassel. 
Leipzig, 1619. 

163 — Brieuves, De — La Dentelle — Historique de la Dentelle a travers les ages 
et les pays. Modeles et dessins de Songy. Un volume lin-12 de 196 pages, 
illustre de 83 figures et planches dans le texte. 

164 — Brockhaus — Kunst Kloppeln. Conversations Lexicon. 

165 — Brooks, Beatrice, at Comberwell — Plastron en dentelle de Carrickmacross. 
Art applique, Ire annee, Paris. 



260 A LACE GUIDE FOR MAKERS AND COLLECTORS 

166 — Brown, Margaret--Duogate, at Dover — Couverture en dentelle pour calice. 

Art applique, Ire annee, Paris. 
167— Brown, N. C— Arabian Lace. limpet's Bazaar, V. 41, pp. 886-888, Sep- 
tember, 1907. 
168 — Brown, Nellie Clark — How to Make Battenberg and Point Lace. Boston, 

Priscilla Publishing Co., 1900. 
169— Brown, N. C— Lace Table Set. Harper's Bazaar, V. 41, pp. 1116-1119, 

November 1907. 
170 — Brown, M. M. — How lace-making industry in Belgium was subsidized by 

Commission for Belgian Relief. N. Y. Times, Mar. 3, V. 2:1. 
171 — Browning, H. Ellen — Some beautiful Lace at Nottingbam Castle. The 

Lady's Realm. June 1903, London. 
172 — Bruges, Musee de Gruutbuus. Anciennes Dentelles beiges. Anvers, 1889. 

B. M. 
173 — Brunot, H. S. — Lace Industry of Prance. Scientific American Supple- 
ment, V. 57, p. 23817, June 25, 1904. 
174 — Briissel — Historische Spitzenausstellung. Kungstgewerbeblatt, 1893-1894, 

Leipzig. 
175— Brussels, Expos. Nationale de 1880.— Cat. Officiel. (Sect. IV., Classe C, 

Dentelles et Broderies.) 16 mo. Bruxelles, 1880. S. K. M. 
176— Brussels Lace— All the Year, V. 36, pp. 296, 353. 
177 — Brussels — Musees des Arts decor atifs. Catalogue des ouvrages se rap- 

portant a l'industrie de la dentelle. 433 pp. Bruxelles, 1906. B. M. 
178 — Buckinghamsbire, Countess of — Tbe Buckingbamsbire Lace Industry and 

its Revival. The Girl's Own Paper, 1876, London. 
179 — Buckingbamsbire, Countess of — Revival of Lace. Argosy, V. 63, p. 156. 
180 — Buckley, Agnes, at Limmerick — Composition pour berthe en dentelle. Art 

applique, Ire annee, Paris. 
181 — Buhring, W. — Scbulen fur kunstleriscbe Nadelspitzen in Hirschberg. 

Schleisen, In die Kunst, 1910, v. 22, pp. 412, 413. 
182 — Bulletin commercial, organe hebdomadaire du Musee commercial de Brux- 
elles, 1902, Nos. 33-50, about exporting lace to out-of-way places and 

about possible agents. 
183 — Bulletin mensuel de 1 Association generale du commerce et de l'industrie 

des tissues et des matieres textiles. Paris, 14e Annee, 25 mars 1898, Seance 

de la Cbambre syndicale des dentelles et broderies. 
184 — Bulletin of tbe Needle and Bobbin Club. Pub. semi-annually beginning 

Dec. 1916, New York. 
185 — Bunner, K. — Lace-makers of Aspley Guise. Craftsman, V. 17, pp. 85-89, 

October 1909. 
186 — Bunsen, Marie von and Heiden, Max — Berliner Spitzen-Ausstellung, 1905. 

Plauen, C. Stoll. 
187 — Burando (?), Lace-making at— "Art & Letters," Vol. I., pp. 12, 42. 4to. 

Lond. 1881. 
188— Burando (?)— Patterns of Lace made at. 100 Pbotos. Fol. Burando, 1884. 

S. K. M. 



BIBLIOGBAPHY 261 

189 — Burato — Libri ii, iii, et iv, De Re eh ami per le quale se impara in diversi 
modi l'ordine e il modo de recamare, etc. Venice, 1527. The whole con- 
taining over 150 plates of designs. Venezia, 1878-80. Only a small num- 
ber reprinted in facsimile of the originals. Metro. Mus. 

190— Burrell, Mrs. J. Knitted Lace Edgings. 3 pt. Wisbech, London 1845-6. 
In British Museum. 

191 — Burrowes, M. E. B. — Buckinghamshire Lace. Art Workers' Quarterly, 
v. 3, (No. 9), pp. 15, 16. 

192 — Busse, G. F. — Die Se-hatzkammer der Marienkirche zu Danzig. (Photos, 
of Needlework). 2 vols. 8vo. Danzig, 1870. S. K. M. 

193 — Butterick Publishing Co. — The Art of Crocheting. Butterick, New York, 
1891. (Collection of Kursheedt Manufacturing Co.) 

194— Butterick Publishing Co.— The Art of Drawn Work. Butterick, N. Y., 1897. 
(Collection of Kursheedt Manufacturing Co., N. Y.) 

195— Butterick Publishing Co.— Art of Drawn Work. 1901. (Collection of 
Kursheedt Manufacturing Co., N. Y.) 

196 — Butterick Publishing Co. — The Art of Modern Lace-making. Butterick, 
1891. (Collection of Kursheedt Manufacturing Co.) 

197 — C, A. — Furm oder Modelbiichlein darin zu lernen vnnd gantz Lentlich zu 
begreyffen die recht und war Kunst auch die ausz teylung aller hand 
gewirck in der ram in der lade und mit der Kand ausz zu Nehen ganntz 
Neygemareht. Gedruckt zu Augspurg, D. H. S. Sans date, vers 1550. 
Titre et 12 feuillets signes : A. C. 24 planches sur bois. Modeles de tapis- 
serie. Catalogue Tross, 1867. 

198— C, E. M.— The Lady's Crochet-book, 3rd series. London, 1877. 8°. 

199— C, E. M.— The Lady's Knitting- book. Series I-IV. 4 vols. 16 mo. Lon- 
don, 1875. S. K. M. 

200 — Calais Lace Trade. Board of Trade Journal, May 16, 1901, London. 

201 — Calavas, A. — (Dentelles diverses). Portef., Paris, A. Calavas, n.d. 

202 — Calepino, Francesco — Lucidario di Recami nel qval si contengono molte 
et varie sorti di dissegni a pvnti in aere et pvnti tagliati et a fogliami et 
con figure et di piu altre maniere, come al presente si vsano, non piu ven- 
ule in luce per leqvli ogni devato ingegno potra in diuersi modi comme 
dissimamamente seruirsi. In Venetia appresso Jeronimo Calepino, 1563. 
Au-dessus de l'adresse de l'editeur, un fleuron rectangulaire, compose de 
rineeaux des deux cotes d'un vase, et au-dessous un autre fleuron a, claire- 
voie. Verso. Dedicace : Alia molto Honorata M. Anzola, ingegniera suo- 
cera mia digniss. Francesco Calepino. S. Puis une lettre ornee V. entre 
les branches de laquelle on voit une femme tenant dans ehacune de ses 
mains levee en Pair une couronne. Cette lettre ornee est en tete de 21 
lignes de texte finissant par les mots: Div. vara et singular virtu. Fran- 
cesco Calepino affettionatiss. Puis les broderies. Page non cotee, verso. 
An verso de cette page une marque d'imprimeur consistant en rineeaux 
avec un ecusson au milieu, dans lequel on voit un animal de profil a gauche. 
En resume 16 feuillets contenant 27 planches de broderies seulement, a 



262 A LACE GUIDE FOR MAKERS AND COLLECTORS 

cause des planches doubles. C'est pour ue pas avoir observe ce detail que 
dans sa bibliograpbie Mme Bury-Palliser indique cet ouvrage comme con- 
tenant 29 planches de broderies. Bibliotheque Nationale. Bibliotheque 
de 1 'Arsenal. 

203 — Calepino, Jeronimo — Splendore delle virtuose giovani dove si contengono 
molte, & varie mostre a fogliami cio e punti in aere, et punti tagliati, bel- 
lissimi, & con tale arteficio, che li punti tagliati serveno alii punti in aere. 
Et da quella ch' e sopragasi far si possono, medesimamente molte altre. 
In Venetia Appresso Jeronimo Calepino, 1563. 8vo, 20 ff., 35 plates of 
scroll patterns in the style of "II Monte." Venice, 1563. Dedication 
"Alia molto honorata M. Anzola ingegniera suoceramia digniss." Fran- 
cesco Calipino wishing, he says, to "ristampare la presente opera," he 
dedicates it to her. Bib. Nat. Bib. de l'Arsenal. Cat. d'Estrees. 

204 — Calepino, Francesco — Splendore delle virtuose Giovani dove si contengono 
molte et varie mostre a fogliami. Cioe punti in aere et punti tagliati bell- 
issimi & con tale artificio che li punti tagliati serueno alii punti in aere et 
da qvelle che sopragasi far si possono medesimamente molte altre. In 
Venetia appresso Jeronimo Calepino, 1563. Ce titre est inscrit sur une 
draperie encadree dans deux colonnes sur socle et surmontees enhaut d'un 
fronton surbaisse portant au milieu un gros anneau. Au verso une dedi- 
cace: Alia molto honorata, M. Anzola Ingegniera suocera mia digniss 
Francesco Calepino S. Une lettre ornee, c'est un V entre les branches du- 
quel on voit une femme tenant dans chacune de ses mains, levees en l'air, 
une couronne. Vingt et une lignes de dedicace se terminant par les mots : 
Div. rara & singular virtu Francesco Calepino affectionatiss. Au verso 
d'une page deux gravures sur bois, l'une au-dessus de l'autre. En haut, 
c'est un ornement rectangulaire, forme, d'un motif central et de deux 
rinceaux. Au-dessous c'est une marque d'imprimeur au milieu de laquelle 
on voit dans une sorte d'ecusson, un animal de profil a, gauche. En resume, 
16 feuillets dont un titre et 29 planches de broderies. Vente Santarelli. 
Bibliotheque Nationale. Biblotheque de l'Arsenal. 

205 — Calepino, Jeronimo — Splendore delle Virtuose Giovanni dove si conten- 
gono molte et varie mostre di fogliami, cioe punti in aere et punti tagliati 
bellissimi et con tale artificio che li punti tagliati serueno alii punti in 
aere et de qvelle che so pragasi far si possono medesimamente molte 
altre. In Vinegia appresso Jeronimo Calepino del 1567. In 4°. Fron- 
tispice, gravures, 20 feuillets, 35 planches. Bibliotheque Melzi, a, Milan. 

206 — Calmettes, Fernand — L 'Exposition Universelle (1900). Les tissus d'art, 
III, Dentelles. Revue de I' Art ancien et moderne, 1900. 

207 — Calmettes, Pierre — Dentelles et Dentellieres. Grande Revue, March, 1904, 
Paris. 

208 — Calori, E. — Travaux en guipures, etudes. Arte Italiana, 1901, Milan. 

209 — Camerino, J. G. — Collection J. G. Camerino, Paris. Les Points de Venise. 
Paris, Librairie des Arts Decoratifs, 1907. 

210 — Campbell, Mrs. — Care of Lace. Chamber's Journal, V. 80, p. 743. 

211 — Cardevaque, M. de — Histoire de la Dentelle a Arras. 



BIBLIOGRAPHY 263 

212 — Carita — Lacis (Filet Brode) : practical instructions in Filet Brode or 
darning on net. Diagrams for working old designs of Lacis. Sampson 
Low, 1909 etc. B. M. 
3 ser., Sampson Low, 1910. B. M. 

213 — Carlier, Antoine — La Belgique Dentelliere. Brussels, 1898. B. M. 

214 — Carlier, Antoine — Les crises dentellieres en Belgique. Musee social, De- 
cember 1901, Paris. 

215 — Carlier, Antoine — Les Dentelles a 1 'aiguille. Extr. Bulletin des Metiers 
A' Art, 1903-1904. Brussels, Vromant et Cie., 1904. 

216 — Carlier, Antoine — Les Dentelles au Fuseau (Malines, Lille, Chantilly, 
Blondes.) Technique evolution des formes. 1 vol., 4to, 100 plates. J. 
Poisson, Paris. Also edition de luxe with 450 engravings. Vromant & 
Co. 

217 — Carlier, Antoine — Les Dentelles a l'aiguille, leur technique. Bull. Metiers 
d'Art, 1904, Brussels. 

218 — Carlier, Antoine — Les dentelles a. l'aiguille, origine, luxe, histoire. Bull. 
Metiers d'Art, 1903, Brussels. 

219 — Carlier, Antoine — Les Dentelles a l'aiguille. Petit brochure in 4to, 50 en- 
gravings. 

220 — Carlier, Antoine — Les dentelles a l'aiguille, "points," technique. Bull. 
Metiers d'Art, 1904, Brussels. 

221 — Carlier, Antoine — Les Dentelles a la Main, Dentelles au Fuseau, a 1 'Aiguille, 
Points melanges. Plauen. 

222 — Carlier, Antoine — Dentelles des Temps passes. Illustration Europeene, 
October 1901, Brussels. 

223 — Carlier, Antoine — Les Duchesses anciennes et modernes. 61 engravings, 2 
plates. Petit brochure. 

224 — Carlier, Antoine — Le jeu des fuseaux. -Patriote illustre, March 1901, Brus- 
sels. 

225 — Carlier, Antoine — De Kantveraardiging in Nederland en Belgie. Else- 
vier' 's Geillustreerd Maandschrift, April, 1904. The Hague. 

226 — Carlier, Antoine — Le Point de Venise. 1 f., n.p., n.d. 

227 — Carlier, Antoine — Les Valenciennes. Brussels, 1902. 64 pages. 8vo. 42 
figs, and plates. B. M. 

228 — Carlile, Blanche — Lace and the North Buck Lace Association. Empire Re- 
vieiv, January, 1903, London. 

229 — Carter, Miss Sybil — Brochure without title, New York, n.d. 

230 — Carter, Miss Sybil, and Miss Margaret A. Tomes — Lace made by North 
American Indians. New York, 1904. 

231 — Caster, G. Van — La Dentelle de Maline. Acad. Roy. d'Archeol. de Bel- 
gique Annates, V. 62, pp. 5-51. 

232 — Caster, G. van — Etude sur la Dentelle de Malines. Malines, L. and A. Go- 
denne, 1909. 

233— Catalogue, Daily Mail Exhibition of British Lace, March, 1908. 

234 — Catalogue des objets d'art . . . dentelles . . . ayant appartens a Mme. la 
Comtesse Gatterburg Morosini, a Venise. Venice, 1904. 



264 A LACE GUIDE FOR MAKERS AND COLLECTORS 

235 — Cau, James L. — The Mortons of Darvel. Art Journal, n.s. 1900. London. 

Pp. 7-11, 78-82. 
236 — Caulfeild, S. F. A., and Saward, B. C, — Dictionary of Needlework. An 
encyclopaedia of plain and fancy needlework. History of the various 
works, etc. (Illus.) 4to. London, 1881, L. Upcott Gill. S. K. M. 
237 — Caulfeild, S. F. A. and Blanche C. Saward — Supplement to the Dictionary 

of Needlework. London, 1902. 
238 — Caulfeild, S. F. A. — Papers on Needlework in The Queen, The Girl's Own 

Paper, and Cassell's Domestic Dictionary. S. K. M. 
239 — Celle, D. — "Ce livre est plaisant et utile. A gens qui besongnent de leguille," 
etc. 28 ff., 27 plates. Title in Gothic Letters. Dedication to the Reader, 
in which it states the hook is for the profit of "tant hommes que femmes." 
Patterns mediaeval. At the end of the Preface, "Finis coronat opus." — 
Lyons, N. D. Bib. de l'Arsenal. No. 11,953. Cat. d'Estrees. No. 8,843. 
1. Bib. Ste. Genevieve. V. 634. 
240 — Celle, D. — Ce liure est plaisant et vtile &c. . . . Corrige est uouuellement 
. . . par . . . Dominicque celle . . . Taille il est totallement Par Jehan 
coste . . .A Lyon . . . Quatre vingtz fassons a vrayement Tous de dif- 
ferente maniere. Imprime a Lyon par Jehan coste. Lan de grace mil 
cinq cens trente vng. Le premier jour du moys de Decembre. Dominieus 
de celle fecit, 4°. B. K. M. 
241 — Celle Dominique — Ce livre est plaisant et utile 

A gens qui besongnent de l'eguille. 

Pour comprendre legerement 

Damoyselle bourgoyse ou fille. 

Femmes qui ont l'esperit agille 

Ne scaur oient fallir nullement. 

Corrige est nouvellement. 

Dung honneste homme par bon zelle 

Son nom est Dominique Celle. 

Qui a tous lecteurs s' humilye 

Domicille a en Italie. 

En Thoulouse a prins sa naissance. 

Mise il a son intelligence 

A lamander subtillement. 

Taille il est totalement. 

Par Jehan Coste de rue Merciere. 

A Lyon est consequemment. 

Quatre vingtz fassons a vrayment. 

Tous de differente maniere. 
Sans date. In-4°. Livre de toute rarete, non mentionne par Brunet. Le 
titre indique ci-dessus est dans un encadrement. Au verso on lit un avis 
au lecteur, imprime en gothique. Suivent: 27 feuillets contenant 54 plan- 
ches de patrons de lingerie ou de broderie. Vente Pichon, 1869. 
242 — Celnart, Madame — Manuel des Demoiselles, ou Arts et Metiers qui leur 

conviennent, etc. (Illus.) 12mo. Paris, 1830. S. K. M. 
243 — Ceresole, V. — Les Origines de la Dentelle de Venise et l'Ecole du Point 
de Burano a Exposition Universe lie de Paris en 1878. "L'Art," Vol. 
XIIL, pp. 80, 105. Fol. Paris, 1878. S. K. M. 



BIBLIOGRAPHY 265 

244 — Cesares, G. A. — Arazzi, Tessuti e Merletti. La Rassegna degli Interessi 
Femminili. March. 15, 1887, Rome. 

245 — Chambre de Commerce d'Alost — Rapport general sur la situation commer- 
ciale et industrielle, en 1874. 

246 — Chambre de Commerce de Bruges — Rapport general sur la situation du 
commerce et de 1 'Industrie, en 1864. 

247 — Chambre de Commerce de Roulers — Rapport general sur la situation de 
l'industrie et du commerce pendant l'annee 1864. 

248 — Chambre des Representants de Belgique — Ecoles dentellieres, avril 1884. 

249 — Chambre des Representants de Belgique — Patentibilite des Ecoles dentel- 
lieres, 1859. 

250 — C, H. N. D. — Winter und Sommer-Wartlein, aller wol-konnenden Jung- 
frauen; aus welchen unterschiedliche Friicht und Blumen alzubrocken, 
auch zu einem Dantzerl gegenwartiges als Musicalische Noten alien emb- 
sigen Frau-und Jungfrauen zu sonderlichem Lieb und Nutzen gegen hun- 
dert neue Arien, Sarabanden, Ballet und Capricien composirt und heraus- 
gegeben Durch H. N. D. C. 1691. 8°, 16 pp., 36 engravings. B. K. M. 

251 — Champeaux, A. de — Les Arts du Tissu. Etoffes. Tapisseries. Broderies. 
Dentelles. Reliures. Paris, J. Rouan et Cie., 1892. 144 pages. In B. M. 

252 — Champeux, M. A. — Dessins et Modeles. Les Arts du Tissu. 

253 — Chandler, Mabel S., at London — Projets de dentelles modernes. Art ap- 
plique, 2e annee, Paris. 

254 — Channer, C. C, and Roberts, M. E. — Lace Making in the Midlands, past and 
present. London, Methuen & Co., 1900. B. M. 

255 — Chapman, J. J. — St. Anne's Embroidery School, Nara. Spirit of Missions, 
V. 74, pp. 418-422, May, 1909. 

256 — Charles, Marguerite — La Dentelle a 1 'Exposition de Liege. Paris, A. Ros- 
seau, 1905. 

257 — Charles, Mile. M. and Pages, Laurent — Les broderies et les dentelles. 
Cours en quarante lecons? Premiere serie. Broderie. Origine, instru- 
ments et materiaux. Expose des points. Histoire. Fils tires. Les jours 
sur toile. Point coupe. Broderie de Nancy, Anglaise, piquee, Colbert, 
Richelieu, Venitienne, au Passe, Application, (a la main). Dentelles a, 
1 'aiguille, les filets, les lacis. Points de Venise France, Argentan, Sedan, 
Espagne, Flandres, Dentelles au fuseau. Les principaux points. Ori- 
gines. Etc. Un volume grand in-8° de 240 pages, illustre de 200 figures 
documentaires dans le texte et 16 belles planches phototypiees. F. Juven, 
Paris (1905). B. M. 

258 — Charles, Mile. M., and Pages, Laurent — Seconde Serie Dentelles frangaises 
et etrangeres. Les broderies au point sur toile. Tapisserie. Crochet. Per- 
les. Jais. Soutache Lacet, Galons d'or, en ruban, en relief, mecanique, 
melangee, etc. Dentelles sur tulle, Renaissance, Guipure d'Irlande, Chan- 
tilly, Valenciennes, Flandre. Point d'Angleterre, Bruxelles, etc Un beau 
volume de 240 pages illustre de 200 figures documentaires dans le texte et 
1*6 belles planches phototypiees. F. Juven, Paris (1905). B. M. 

259— Chayele, Joannes— Le Puy Spitzen, Plauen, C. F. Schulz & Co., 1910. 30 
plates. 



266 A LACE GUIDE FOR MAKERS AND COLLECTORS 

260 — Chayllery, Gabrielle, at Paris — Projet de col en dentelle. Art applique, 2e 
annee, Paris. 

261 — Cherbuliez, Mile. Ernilie — Musee d'Art et d'Histoire, Geneve. Les Den- 
telles de la Salle Amelie Plot. Geneve. 

262 — Chevalier de Wouters de Marines — "Une Industrie que se meurt, la den- 
telle de Malines." Bulletin du Cercle archeologique, artistique et litte- 
raire de Malines, 1901. 

263 — Ckinesische Spitzen — Illustrirte Zeitung, June, 1845, Leipzig. 

264 — Ckoix de dentelles faisant partie de la collection du Musee Historique des 
Tissus de Lyon. Paris, A. Calavas. (1904.) 

265 — Christian, Princess — Article in Murray's Magazine, 1883. 

266— Church, A. H.— Some Italian Embroideries. (Sins.) "The Portfolio." 
Vol. XIL, pp. 32, 50, 111. 4to. London, 1881. S. K. M. 

267 — Church Needlework, — Book of symbols for, Plates. 2nd edit. 4to. London, 
n.d. S. K. M. 

268 — Ciotti, Giovan Battista — Prima parte de Fiori e disegni di Varie sorti di 
Ricami, Moderni come Merli, Bavari Manichetti, & altri nobili Lauori che 
al presente sono in vso. In Venetia appresso Francesco di Franceschi, 
senese all'insegna diella Pace, 1591. Sur le titre un cartouche dans lequel 
on voit une femme, de face, tenant d'une main levee en l'air un rameau 
d'olivier, de 1 'autre une torche allumee dont la flamme est dirigee vers le 
sol. In-4° oblong. Dedicace : Alia Clarissima Signora et Padronna mia 
Colendissima la Signora Gabriella Zeno Michele. Au verso de cette page, 
fin de la dedicace par les mots : Di Venetia, alii 19 di Marzo 1591. Div. s. 
Clarissima, humilissimo et diustissimo servitore giouan battista Ciotti. 
Titre, dedicace et 14 feuillets, en tout 16 feuillets, dont 14 planches de bro- 
deries. Vente Yemenitz, Vente Labitte, 1877. Bibliotheque Nationale. 
Bibliotheque de 1 'Arsenal. 

269 — Ciotti, Giouanbattista — Prima parte de' Fiori, E Disegni Di varie sorti di 
Eicami Moderni. Come Merli, Bavari, Manichetti, & altri nobili lauori, 
che al presente sons in vso. In Venetia. Appresso Francesco di Fran- 
ceschi Senese all' insegna della Pace, 1591. [At end:] Appresso Nicolo 
Moretti, ad instantia di Francesco di Franceschi. 4°. 2 pp. 15 cuts. Re- 
produced by Wasmuth, Berlin, 1891.) B. K. M. 

270 — Claesen, Joseph — La Dentelle (Album de 1 'Exposition de l'Art ancien, 
Bruxelles, 1884). Paris, C. Claesen, 1884. 

271 — Clark, Will. Alex. S. — Lace Industry in England and France. 

272 — Clark, Will. Alex. S. — Swiss Embroidery and Lace-making. 

273— Clarke, Effie B.— Amateur Lace of Olden Times. Art Journal, 1899. Pp. 
366-370. 

274 — Clarke, E. B. — Amateurs in Lace. Art Journal, V. 54, p. 381. 

275— Clarke, E. B.— Design in a Dead Century. Art Journal, 1900, pp. 208-212. 

276— Clarke, E. B.— English Lace in 1896. Art Journal, 1899, V. 48, p. 297. 

277— Clarke, E. B. — Irish Lace. The Art Journal, December, 1897, London, V. 
49, p. 358. 

278— Clarke, E. B.— "Of 'Kerchiefs." Art Journal, 1900, pp. 361,365. 

279 — Clarke, E. B. — Lace Amateur of Olden Days. Art Journal, V. 51, p. 141. 



BIBLIOGRAPHY 267 

280— Clarke, E. B.— Lace Designs of 1899. Art Journal, V. 52, p. 208. 

281 — Clarke, E. B. — The Laces of Queen Margerita of Italy. Art Journal, 1895. 

pp. 296-300. V. 47. 
282— Clarke, E. B.— Modern Amateur in Lace. Art Journal, 1902, pp. 381-384. 
283— Clarke, E. B.— Old Masters in British Lace. Art Journal, 1899, pp. 141- 

145. 
284 — Clay, M. S. — Design Applied to Needlework. Manual Training, V. 15, pp. 

110-113, December, 1913. 
285 — Clerget, D. E. — Tracings by, filled in as in fac-similes, of the following lace 

pattern books : — La fleur de la Science de Pourtraicture, et patrons de Bro- 

derie, etc. (69 pp. of designs.) Sm. fol. Paris. F. Pelegrin, 1530. 

S. K. M. 
286 — Clerget, D. E. — Tracings by, filled in as in fac-similes. Patrons de divers 

manieres, etc. (11 tracings.) Sm. obi. 4to. Lyons, Pierre de Ste. Lucie, 

1590. S. K. M. 

287 — Clerget, D. E. — Tracings by, filled in as in fac-similes. Patrons pour Brod- 
eurs, Lingeres, Massons, Verriers, et autres gens d 'esprit. (6 tracings.) 
Sm. obi. 4to. Paris, Vve. Jean Buelle. n. d. S. K. M. 

288 — Clerget, D. E. — Tracings by, filled in as in fac-similes. Splendora del virtu- 
ose giovane. (42 pp. of designs.) Sm. obi. 4to. Venise, Francesco Cale- 
pino, 1563. S. K. M. 

289 — Clerget, D. E. — Tracings by, filled in as in fac-similes. Triompho di Lavori, 
etc. (9 designs.) Sm. obi. 4to. Padoue, Fra Hieronimo de Cividad di 
Friuli. (1555). S. K. M. 

290. — Clerget, D. E. — Tracings by, filled in as in fac-similes. La vera perfezione 
del Disegna, etc. (23 tracing's.) Sm. obi. 4to. Venice, Francesco Senese, 

1591. S. K. M. 

291. — Clermont Tonnerre, Cesse. Gedeon de — Histoire de la Dentelle (Trans- 
lation). 

292 — Clever Copy, A. — The Connoisseur, III, No. LT, London. 

293 — Clifford, Chandler Bobbins — Chart of Handmade Laces. Lace and Em- 
broidery Review, Sept. 1915, New York. 

294— Clifford, Chandler Bobbins— The Lace Dictionary. New York, Clifford & 
Lawton, 1913. 

295 — Clowes, Bonald. — Lace and Needlework. The collection of Mons. G. Selig- 
man, The Connoisseur, Jan., 1912, V. 32, pp. 27-36. 

296 — Cockeris, H. — Patrons de Broderie et de Lingerie du XVI e Siecle. (Be- 
productions of Lace books in the Mazarine Library, Paris.) 8vo. Paris, 
1872. 2nd ed. 8vo. Paris, 1873. S. K. M. 

297 — Cocheris, Hippolyte — Beeueil de documents graphiques pour servir a 1 'his- 
toire des arts industriels. Paris, 1872. Cocheris Beprint — See No. 1297. 

298 — Colaert — Discours prononce a la Chambre des Bepresentants, le 8 avril, 
1884. 

299 — Cole, A. S. — Ancient Needlepoint and Pillow Lace. (20 Photographic 
illus.) fol. Lond. 1875. S. K. M. 

300 — Cole, Alan S. — Cantor Lectures on Means for Verifying Ancient Enbroi- 
deries and Laces. March, 1893, London. Wil Trounce, 1895. 



268 A LACE GUIDE FOE MAKERS AND COLLECTORS 

301 — Cole, Alan S.- — Cantor Lectures on the Art of Lace-making, delivered be- 
fore the Society of Arts, April and May, 1881. London, 1881. B.M. S.K.M. 
302 — Cole, Alan S. — Cantor Lectures. The Art of Lace-making. Journal of the 

Society of Arts, Sept., 1881, London. 
303 — Cole, Alan S. — Catalogue of Antique Lace. Cork School of Art, 1884. 
304 — Cole, A. S. — Catalogue of Lace. 23 pp., 1899. Lublin Science and Art 

Museum. General Guide, pt. 4. 1908. 
305 — Cole, Alan S. — Catalogue of Special Loan Exhibition of Lace at the Mid- 
land Counties Fine Art Museum, 1878. 
306 — Cole, Alan S. — Copy of Eeport on the Honiton Lace Industry, etc. Vol. 

LXXX. Ordered by the House of Commons to be Printed, April 19, 1888. 
307 — Cole, Alan S. — Les dentelles anciennes, traduit par Ch. Haussonilier, 1878, 

Paris. 
308 — Cole, Alan S. — Irish Lace and Embroidery. Great Britain Science and 

Art Department, 45th Annual Report, 1897, pp. 93-104. 
309 — Cole, Alan S. — The Irish Lace Industry. Journal of the Society of Arts, 

March, 1889, London. 
310 — Cole, A. S. — Irish Lace-Making. Journal of the Society of Arts, V. 37, 

p. 317. 
311 — Cole, Alan S. — Irish Lace, Report upon visits to Convents, Classes and 

Schools, etc. London, 1887. 7 photos, 4 to. 
312 — Cole, Alan S. — Irish Papal Jubilee Lace. Magazine of Art, 1888, V. 11, pp. 

200-204. 
313 — Cole, Alan S. — Iriscbe Spitzen — translation. Plauen, C. Stoll. 30 plates. 
314 — Cole, Alan S. — Lace at the South Kensington Museum. The Magazine of 

Art, Sept. 1895, London. V. 18, p. 419. 
315 — Cole, Alan S. — Lace (Encyclopaedia Britannica). London, A. C. Black, 

1902. 
316 — Cole, Alan S. — Lace-making in Ireland. The English Illustrated Magazine, 

June 1890, London. V. 7, p. 655. 
317 — Cole, Alan S. — Lace-making in Ireland. Art Workers' Quarterly, V. 3 (No. 

9), pp. 4-7. 
318— Cole, A. S.— Lace-Making. Journal of the Society of Arts, V. 29, pp. 769- 

799. 
319 — Cole, Alan S. — Lace. The Magazine of Art, Sept. 1879, London. V. 2, p. 

249. 
320 — Cole, Alan S. — Means for Verifying Ancient Embroideries and Laces (Can- 
tor Lectures). Journal of the Society of Arts, July 1895, London. V. 

43, pp. 757, 769, 781. 
321— Cole, Alan S.— Needlework and Lace. Pattern Books XVEtb Century. The 

Bibliographer, March, 1882, London. 
322 — Cole, Alan S. — A Renascence of the Irish Art of Lace Making. London, 

Chapman & Hall, 1888. B. M. 
323 — Cole, Alan S. — Recent Developments in Devonshire Lace-making. Journal 

of the Soc. of Arts, April, 1904, London. V. 49, p. 192. 
324— Cole, Alan S.— Recent Honiton Lace. Magazine of Art, 1892, V. 15, pp. 

30-33. 



BIBLIOGRAPHY 269 

325 — Cole, Alan S. — Eeport by Mr. Alan Cole upon his visits to Irish Lace-rnak- 
ing and Embroidery Schools, in 1897. London, 1897. 

326 — Cole, Alan S. — Eeport on Northampton Bucks and Beds Lace-making. No- 
vember, 1891, London, Eyre & Spottiswoode, 1892. 

327 — Cole, A. S. — Eeport on the visits to convents, classes, etc., where lace- 
making and designing for lace are taught . . . in Ireland. 8vo. (Lond.) 
1885. S. K. M. 

328 — Cole, Alan S. — Eeport upon the "Exposition Eetrospective" of the 
"Union Centrale des Arts Decoratifs" exhibited in the "Palais de 1 'In- 
dustrie," 1882. London, G. E. B. Eyre & W. Spottiswoode, 1883. 

329 — Cole, Alan S. — Science and Art Museum, Leinster House, Dublin. Cata- 
logue of Lace, with an Introduction by Alan S. Cole. Dublin, Alex. Thorn, 
1878. 

330 — Cole, Alan S. — Some Eecent Irish Laces. The Magazine of Art, April, 
1891. London. V. 14, p. 211. 

331 — Cole, Alan S. — A Supplemental Descriptive Catalogue of Specimens of 
Lace Acquired for the South Kensington Museum Between 1880 and June, 
1890. 46 pages, 14 plates. 1 portfolio. London, Eyre and Spottiswoode. 

332 — Cole, Alan S. — A Supplemental Descriptive Catalogue of Specimens of Lace 
acquired for the South Kensington Museum between June, 1890 and 
June, 1895. London, 1895, Eyre & Spottiswoode. 48 pages. B. M. 

333 — Cole, Alan S. — Studies from the Museums. Hand-made Laces from the 
South Kensington Museum, London. E. Sutton & Co., 1890. B. M. 

334 — Cole, Alan S. — Two Lectures on the Art of Lace - making. Dublin, Alex. 
Thorn Co., 1884. B. M. 

335 — Cole, Alan S. — A Word on the Outlook of Lace-making in Ireland. The 
Magazine of Art, April, 1888, London. V. 11, p. 202. 

336 — Cole, H. H. — Cat. of the objects of Indian Art in the South Kensington 
Museum. Illus. (Embroidery, p. 216.) 8vo. London, 1874. S. K. M. 

337 — Coles, Fred E., of the Scottish Museum of Antiquities. — Two articles in 
The Reliquary for Jan. and April, 1899, on spindles and distaffs. 

338 — Collection de dentelles au musee des tissus de Lyon, La. — 114 plates. 
Paris, 1909. En portefeuille. 

339 — Collection de Dentelles du Musee de Cluny a Paris. Plauen, Chr. Stoll, 
n.d. 

340 — Collezione Arrigoni, La. Emporium, 1902, Bergamo. 

341 — Collier, Louis C, at Nottingham — Dessin pour rideau de dentelle. Art ap- 
plique Ire et 2e annee, Paris. 

342 — Colored Italian Patterns for Cross-stitch Work. 23 photographs. (Col- 
lection of Kursheedt Manufacturing Co., N. T.) 

343— Colored Lace. Review of Reviews, v. 21, pp. 732-733, June, 1900. 

344 — Comment discerner les Styles enseignes par 1 'Image — La Dentelle. Trans- 
formations progressives, XVI et XVII siecles. Paris, Ed. Eouveyre, n.d. 

345 — Commission d'Enquete sur la Condition des Ouvriers et sur le Travail des 
Femmes et des Enfants. Brussels, 1843. 

346 — Commission du Travail. Brussels, 1886 and 1887. 

347 — Conde, Mme. de — The art of making Valenciennes lace. London, 1844. 8°. 



270 A LACE GUIDE FOR MAKERS AND COLLECTORS 

348 — Contributions toward Bibliography. J. P. Briscoe & S. J. Kirk, 189(1 

349 — Cook, C. — Making of Macrame Lace. Scribner's, V. 15, p. 844. 

350 — Cook, C. — Making of Macrame Lace. Living Age. V. 112, p. 541. 

351— Cook, M. E.— History of Lace. Palliser's Dial. V. 33, p. 13. 

352 — Cork; School of Art — Cat. of ooll. of antique lace, by A. S. Cole. 10 plates. 
8vo. Cork, 1884. S. K. M. 

353 — Cornaro, C. — Bevival of Burano Lace. Century. V. 1, p. 333. 

354 — Cornu, P. — Le Concours de dessins de la Dentelle de France. Art et Dec- 
oration, 1909. V. 25, pp. 163-168. 

355 — Corona of Italian Lace Work. (Collection of Kursheedt Mfg. Co.) 

356 — Corte, Armenio. — Libro de Mostre di Ponti in Aere, Intitolato Corona de la 
Mostre. Opera nuoua et non piu veduta. Dedication Alia Magnifica et 
illustre Madonna Helena Barozza, honoratissima Consorte del Clariss. S. 
Antonio Zantani, Conte & Caualiero . mio Signore . [with initial E]. 
mark of Vincenzo Valgrisi (Venice, 1548-73). II fino del primo libro. 4°. 
Cuts. 16 leaves. V. & A. M. 

357 — Corte, Armenio — Libro del Mostre di Ponti in aere, intitolato Corona de 
le Mostre. Opera Nuova et non piu veduta. Sans lieu ni date. In-4° 
oblong. Dedicace: Alia Magnifica et illvstre madonna Helena Barozza, 
honoratissima consorte del Clariss. S. Antonio Zantani Conte et Caualiero 
mio signore. La dedicace est signee: Armenio Corte. Page non cotee. 
Elle est blanche et au verso on voit la marque d'imprimeur bien connue: 
une lance tenue par deux mains et autour de laquelle sont enroules un ser- 
pent et une branche de feuillage. Cette marque d'imprimeur parait etre 
celle de Valgrisius de Venise. On lit sur ce verso: II fine del primo libro. 
Vente Benedetto Maglione, Paris, 1894, Vente Piot, 1891. 

358 — Cortyl, Eugene — La Dentelle a Bailleul. Bull, du Comite Flamand de 
France, 1903. 

359 — Costenoble, S. van — Kostclooze Nijverheidsschool voor het aanleeren der 
Mechelsche Kanterrj. Malines, Steursbussers, n.d. 

360 — Cotillon — Vieilles dentelles. Journal des Dames et des Demoiselles. Jan. 
16, 1899, Paris-Brussels. 

361 — Courteix, P. — Col, broderie, et dentelle. L'Art decoratif, Dec, 1901, Paris. 

362— Courteix, P.— Dentelles. Col. L'Art decoratif, 1903, Paris. 

363 — Courteix, F. et Prouvet — Dentelles. L'Art decoratif. Dec. 190.1, Paris. 

364 — Courteix, Fernand — Dentelles. Art applique, Ire et 2e annee, Paris. 

365 — Cousin, Jean — Le livre de lingerie, compose par maistre Dominique de Sera, 
Italien, enseignant le noble et gen til art de l'esguille, pour besongner en 
tous points : vtile et profitable a toutes dames et damoyselles, pour passer 
le temps et euiter oysivete. Nouuellement augmente et enrichi de plu- 
sieurs excelents & diuers patrons, tant de point coupe, raiseau, que passe- 
ment de 1 'invention de M. lean Covsin, Peintre a Paris. A Paris, chez 
Hierosme de Marnef & la veufue de Guillaume Cauellat, au mont S. Hi- 
laire a, l'enseigne du Pelican, 1584, auec priuilege du Roy. Ce titre est 
inscrit dans le milieu de la page et tout autour sont disposees quatre gra- 
vures sur bois, dont la reunion forme encadrement. Ces gravures sont 

, rectangulaires et disposees, deux horizontalement en haut et en bas et 



BIBLIOGRAPHY . 271 

deux verticalenient a droite et a gauche. Dans celle qui est en haut, on 
remarque au milieu une tete cornue, et des deux cotes de cette tete, deux 
aniniaux fantastiques, tenant dans leurs bras une branclie de feuillage. 
Dans celle qui est en bas, trois femmes travaillant; celle qui est au milieu 
de la composition, travaille a un metier de basse lisse. Celle de gauche a 
aupres d'elle un petit enfant, celle de droite s'occupe a un travail a 1 'ai- 
guille. Les gravures verticales representent a droite un homme coiffe 
d 'une toque a plumes et tenant un metier devant lui, a gauche une f emme 
travaillant a un metier a broder qu'elle tient sur ses genoux. Au verso de 
ce titre on lit: l'extrait du Privilege date du sept septembre 1583. Les 
trois premiers feuillets du cahier G, d'un gout excellent, doivent seuls, ce 
nous semble, etre du dessin de Jean Cousin. Pour s'en assurer d'une 
maniere positive, il faudrait avoir vu 1 'edition anterieure de 1583 que cite 
d'apres du Verdier, M. Brunet. (Manuel du Libraire, derniere edition, 
tome V, colonne 300.) La marque de Jerome de Marnef reproduite 
par Silvestre (Marques typographiques, n° 812) se voit sur le dernier 
feuillet de cet ouvrage, et s'il faut admettre comme le pretendent quel- 
ques auteurs que Jean Cousin donna le dessin de plusieurs marques de 
libraires, on pourrait compter au nombre de celles qu'il a inventees, celle- 
ci qui est en tout point digne d'une semblable attribution. Page non cotee. 
Le recto contient quatre bandes horizontales. Celle du haut renferme des 
oiseaux. Le verso contient deux dessins. Celui du bas presente les 
lettres I H S et M S E F. Au bas de cette planche, dans l'exemplaire 
de le bibliotheque de 1 'Arsenal, qui a servi a la presente description, on 
lit a l'encre d'une eeriture de l'epoque le mot Fin. Ce qui tendrait a 
faire croire qu'il y a eu des editions anterieures a celle-ci, comme semble 
du reste 1 'indiquer la phrase du titre : Nouuellement augmente et en- 
richi, etc. . . Dans le haut d'une page quadrillee, on voit a gauche, 
un exemple ou par un trait continu a la plume, on indique la maniere 
d'ebaucher un dessin a points comptes. A droite sur la meme feuille 
la maniere de terminer ce dessin, et de le mettre au net en noircis- 
sant chacun des carreaux par ou a passe le trait de plume. Verso, 
grande marque d'imprimeur que l'on peut hardiment attribuer a Jean 
Cousin, tant le style en est large et grandiose. Au centre de la composi- 
tion, un cartouche ovale dans lequel on voit un pelican perche sur un tronc 
d'arbre.- Son sang s'echappe d'une blessure qu'il s'est faite a la poitrine 
avec son bee, et va nourrir trois de ses petits qui sont en bas a ses pieds. 
Deux grandes cariatides, une femme a droite, un satyre a gauche, s'appui- 
ent sur les cotes du cartouche et soutiennent d'un de leurs bras leve en 
Pair, un motif en rinceaux sur lequel sont assis deux petits enfants ados- 
ses. En bas deux autres enfants des deux cotes d'un cartouche, sur le- 
quel se voit un mascaron. Seguin dans son livre sur la dentelle dit . . . 
notre grand peintre Jean Cousin a enrichi le recueil de l'ltalien Domin- 
ique de Sera, publie a peu pres en 1584, de plusieurs planches de patrons 
de dentelles a 1 'aiguille de son invention. . . Nous ne pouvons, dit M. Dup- 
lessis dans le tome 9, du peintre graveur francais (Continuation faite par 
lui de 1 'ouvrage de Robert Dumesnil) mettre au nombre des ouvrages 



272 A LACE GUIDE FOR MAKERS AND COLLECTORS 

composes entierement par Jean Cousin, le volume suivant, dont M. de Mon- 
taiglon nous a revele 1 'existence (Archives de l'art Francais, documents, 
tome V, page 356) et que nous avons vu nous-meme a la Bibliotheque de 
1 'Arsenal. 

366 — Cox, Raymond — La Collection de Dentelles Jose Pasco. Revue de I'Art 
ancien et Moderne. V. 24, pp. 373-386, Paris, 1908. 

367 — Cox, Eaymond — Les Dentelles precieuses. Revue de I'Art, 1903. V. 14, 
pp. 141-161. 

368 — Cox, Raymond — Le Musee Historique des Tissus de Lyons. Lyons, 1902. 

369 — Crane, Josepha — Broderie, dentelle. The Lady's Realm, July, 1898, Lon- 
don. 

370 — Crawford, E. W. — Original Hand- made Lace. Harper's Bazaar. V. 37, 
pp. 676-678, July, 1903. 

371 — Cronback, E. — Die osterreichische Spitzenhausindustrie. 211 pp. 1907. 
Wiener staatswissenschaftliche Studien, Bd. 7, Hft. 1. 

372 — Curtis, E. A. — Needlework: Schedule III. exemplified and illustrated for 
teachers, and upper Standards in Schools. 30 Diagrams. 12mo. Lond., 
1879. S. K. M. 

373 — Cushion Lace, How Invented. Sharpe. V. 40, p. 156. 

374 — Cushion Lace, How Invented. Eclectic Magazine. V. 52, p. 267. 

375 — Cushion Lace, How Invented. Godey. V. 63, p. 25. 

376 — Cushion Lace, How Invented. Chamber's Journal. V. 34, p. 332. 

D 

377— D., M. A. W.— Old Lace. Once a Week, March, 1865, London. 

378 — Daimeries, Mme. — La Dentelle en Belgique. Extr. Manuel sur le travail 
de la femme. Exposition de Chicago, 1893. Brussels, Impr. A. Lesigne, 
n. d. 

379 — Daimeries, Mme. — La Dentelle de Bruxelles. Extr. Annates de la Societe 
d'archeologie de Bruxelles, 1892. Brussels, 1892. 

380 — D'Alcq — Album d'ouvrage de fantaisie des modes de saisons. Broderies 
Tapisseries, marqueterie de paille et de bois, Peinture sur bois et sur 
verre. Application Orientales, etc. 26 planches colories, representant 
environ 200 objets differents avec 25 notices descriptives. En portefeuille 
in. 4°. 

381 — D 'Alcq — Traite de la dentelle au Fuseau — Dentelles de Mirecourt, Valen- 
ciennes, Malines, Flandres, Bruxelles, Venise, dentelle cousue. Illustree 
de 112 gravures sur bois. 

382 — Danieli, Bartolomeo — Fiore pretioso d'ogni virtue. Per le nobili et honeste 
donne con li disegni di recami sul velo la prima volta dati in luce Da Bar- 
tolomeo Danielli In Siena, MDCX. 4°. 2 pp., 11 engravings. Registro 
A, a, b, c. B. K. M. 

383 — Danieli, Bartlomeo — Libro di diversi disegni per Colari, Punti per Faz- 

zoletti et Reticella di varie sorti fatto da Bartolomeo Danieli Recamatore. 

Sans date. In-4° oblong. Ce titre est inscrit sur une coquille posee sur 

un culot de feuillage, entoure a droite et a gauche de deux rinceaux de 

■ feuillages entremele de branches de chene garnies de leurs glands. En bas 



BIBLIOGRAPHY 273 

de la planclie a la pointe a gauche : Agost°. Parisini Forma in Bologna. 
Gravures sur cuivre tirees au recto seulement et portant toutes en bas a la 
pointe soit a droite, soit au milieu de la planclie, la signature : Bartolomeo 
Danieli F. Eien au verso. 23 planches de broderies. Les pages n'ont 
aucune cote. En resume 24 feuillets dont 23 planches de broderies repre- 
sentant des guipures et des modeles de dentelles. Vente Pirovano, Eome, 
1901. Vente Destailleurs, 1895. Half bound. Ellis, London, 1918. 

384 — Danieli, Bartolomeo — Libro di Diversi Disegni per Colari, Punti per fazzo- 
letti, & Eeticelle di varie sorti. Fatto Bartolomeo Danieli Eecamatore. 
Agost . Parisini forma in Bologna, [n.d.] 4°. Title and 22 plates, en- 
graved. V. & A. M. 

385 — Danieli, Bartholomeo — Danieli Bartholomeo Eecamatore libro di diversi 
disegni per Collari, punti per Fazzoletti et Eiticelle divarie sorte. .Agostino 
Parisini forma in Bologna. 15 leaves obi. 8vo, entirely engraved au burin, 
towards the end of the sixteenth century. Milan. Bib. Marquis Giro- 
lamo d'adda. 

386 — Danieli, Bartholomeo — Operetta d'intagliati lauori. In Bologna, August. 
Parisini et Gio. Batt. Negroponte forma, 1639. 

387 — Danieli, Bartholomeo — Vari disegni di Merletti inuentati e tagliati da Bar- 
tolomeo Danieli e dedicati all' Illma Sigra la sigra Barbera Eangona 
Mariscotta. Ce titre est au milieu d'un ovale entoure de rinceaux et de 
fleurs au haut duquel on voit des armoiries surmontees d'une icouironne. 
Le tout est entoure d'un trait car re et de trois filets. Dans les encognures 
de ce rectangle oblong on voit de petits motifs rectangulaires formes ega- 
lement de rinceaux et de fleurs. Au bas de 1' ovale central on lit: Agos- 
tino Parisini e. Gio. Battista Negroponte form, in Bologna, 1641. In-folio 
oblong, entierement grave sur cuivre. Dedicace, All. Illmio sig. Tomaso 
Cospi. Puis 5 lignes de texte finissant par les mots: e dedica Bartolomeo 
Danieli Bolognese. Cette dedicace est entouree d'un cadre rectangulaire 
en broderies, dont la bordure est decoupee en dents de lambrequin. En 
haut au milieu de cet eneadrement un ecusson surmonte d'un casque avec 
rinceaux entourant l'ecusson. En bas de la page a droite: In Bologna, 
1639. Agont°. Parisini e. Gio. Batta Negroponte forma. Puis 12 planches 
de broderies imprimees seulement au recto et portant toutes au bas dans 
1 'angle gauche : Bartolomeo Danieli F. Les ouvrages de dentelles de 
Danieli sont peu connus. Les des sins de cet artiste sont de la plus grande 
richesse. Les planches sont de grandes dimensions et ne mesurent pas 
moins de 30 cent, de large sur 19 de hauteur. Les 12 planches represen- 
ted 12 coins de mouchoirs ou de nappes en dentelles et guipures et 7 orne- 
ments divers. Vente Pirovano, Eome, 1901. Vente Destailleurs, 1895. 14 
engravings. B. K. M. 

388— Danish Embroidery. Delineator, V. 63, p. 473, March, 1904. 

389 — Davydoff, or Davindova. S. — La Dentelle Eusse. Histoire, technique, sta- 
tistique. Translated from the Eussian under the author's direction. 80 
plates, folio. Leipzig, Karl W. Hiersemann, 1895. B. M. 

390 — Davydoff or Davuidova, S. A. — Pycckoe Kypkebo. Yeopbi N. Ckoakn. 
pp. 7. pi. 50, 1909. Fol. & 8°. 



274 A LACE GUIDE FOR MAKERS AND COLLECTORS 

391— Day, L. F. and Buckle, M.— Art in Needlework. Nation, V. 71, pp. 234-235, 
September 20, 1900. 

392 — Day, Lewis F. and Buckle, Mary — Art in Needlework. New York, Scrib- 
ner's, 1908. 

393 — Dean, Samuel Bridge — The Anna Dike Scott Collection of Old Lace. Bos- 
ton, April, 1905. 

394 — De-Chagrin, K. — Modeles pour la broderie au plumetis. 64 plates, 4to. St. 
Petersburg, 1890. 

395 — Decline in the Calais Lace Trade, The — Board of Trade Journal, May, 
1893, London. 

396 — Dedekam, Hans — Norske folkebrodier. 50 plates, $28.00. Albert Bonnier 
Publishing House. 

397 — De G-reef, Guillaume — L'ouvriere dentelliere en Belgique. Brussels, 1870. 

398 — De Haerne, Mgr. — Discours pronon ce a la Chambre des Representants, le 
2 avril, 1884. 

399 — Dehowe, E. — Documents pour Broderies, Dentelles. St. Quentin, E. De- 
howe, 1908. 

400 — Dengler, G. — Kirchenschmuch. Neue Folge. Sammlung von Vollagen 
fur kirchliche Stickerien, etc. (Text in German, French and English.) 
Obi. fol. Amberg, 1873. S. K. M. 

401 — Denicourt, Leon, at Caudry — Projets pour col et mouchoir en dentelle. Art 
applique. 2e annee, Paris. 

402— Denk— Denk's Kreuzstich-Monogramme. Obi. 8vo. "Wien, (1885). S. K. M. 

403 — Dentelle aux fuseaux, La. Journal des Dames et des Demoiselles, March 1, 
1900, Brussels. 

404 — Dentelle, La. — Histoire, description, fabrication, bibliographie, ornee de 
cinquante planches photo-typographiques. Fac-simile de dentelles de 
toutes les epoques; passements aux fuseaux, points coupes a l'aiguille, 
points de Venise, de Genes, de France, guipures, Valenciennes, Malines, 
points d'Alencon, de Sedan, de Bruxelles, d' Angleterre, blondes, Chan- 
tilly, etc. Et de nombreuses gravures d'apres les meilleurs maitres des 
XVIe et XVIIe siecles. Paris, Rothschild, 1875. 4to. 

405 — Dentelle Irlandaise et des jours a l'aiguille (point d'Alencon) — (woodcut 
illus. of materials, stitches, and designs.) 8vo. Paris, n.d. S. K. M. 

406 — Dentelle, La — (magazine). Paris. 

407 — Dentelle, La — Mustergultige Spitz en aus Deutschland, Frankreich und Ital- 
ien vom 16 and 17. Jahrhundert. 500 Aufnahmen in Mappe. 80 Tafeln. 
From the catalogue of Karl W. Hiersemann, Leipzig. 

408 — Dentelle a la main et la loi Engerand, La — Musee Social, Feb., 1904, Paris. 

409 — Dentelles a l'aiguille et au fuseau en Points d'Angleterre et d'Irlande, exe- 
cutes dans les Couvente, etc., d'apres les originaux conserves au South 
Kensington Museum a Londres. Paris, A. Calavas, 1892. 

410 — Dentelles anciennes de la ville de Geneve. Album with 36 plates. 

411 — Dentelles anciennes, vieux Venice, guipures, Alencon, Malines, Argentan. 
Avec 52 figures sur 3 planches, folio. Paris, n.d. From the catalogue 
of Karl ~VV. Hiersemann, Leipzig. 



BIBLIOGRAPHY 275 

412 — Deutelles ancieunes en genre venise en ce moment a Rome. 25 plates. 
Folio. Paris, 1891. 

413 — Deutelles de Belgique, Les — Album with 32 plates. Ch. Massin, Paris. 

414 — Dentelle du Havre — Intermediaire des Chercheurs et Curieux, 1896. 

415 — Dentelles du Musee de Cluny in Paris. 20 plates. Containing many ex- 
amples of old and real hand-made laces. Patterns from the collection in 
the Musee de Cluny. Edinburgh, n.d., folio. 

416 — Dentelles du Musee Galliera. I album with 36 plates. 

417 — Dentelles et Broderies — Le Marche alimentaire, Sept. 11, 1904, Brussels. 

418 — Dentelles et Guipures. 30 plates, P. Claesen, 1884. (Collection of Kur- 
sheedt Manufacturing Co., N. Y.) 

419 — Dentelle, La — Journal de la dentelle a la main. Mensuel. Paris, 1903-05. 

420 — Dentelles, Les — Journal des Demoiselles, 1843, Brussels. 

421 — Dentelle Renaissance, La — La Femme chez elle, Aug. 15, 1899, Paris. 

422 — Dentellieres et Dentelles de Venise. Le Vie Heureuse, August, 1903, Paris. 

423 — Dentellieres Malgaches. Le Matin, June 26, 1905, Paris. 

424 — De Ridder, M. R. — De l'enseignement professionnel dans ses rapports avec 
l'enseignement prirnaire en Belgique. Brussels, 1883. 

425— Derode— Histoire de Lille, 1848. 

426 — Descriptive Catalogue of the Collections of Lace in the Victoria and Albert 
Museum, 1881. 

427 — Design Piracy — Co-operation needed for prevention, letter by Vivian Bur- 
nett, N. Y. Times, May 12, 8:7; letter from S. Lubarsky urges protec- 
tion of lace designs, N. Y. Times, May 13, 10 :5 ; European manufacturers 
guilty according to H. M. Heston, N. Y. Times, May 16, 14 :3. 

428 — Designs — 200 drawings for lace of various and elegant patterns. E. P. 
Dutton & Co., New York. 

429 — Designs for Lace and Embroidery, in chalks and pencil. Bound in Volume. 
Fol. S. K. M. 

430— Designs for Needlework. Crafts man, V. 13, pp. 226-228, November, 1907. 

431 — Designing in Cross-stitch. International Studio, V. 46, pp. 79-81, March, 
1912. 

432 — Despierres, Gr. — Origine du poin d'Alengon. Alengon, 1882. 

433 — Desperres, Madme. Gr. — Histoire du Point d Alengon depuis son origine 
jusqu 'a nos jours. (Plates and Vignettes.) 8vo. Paris, 1886, H. Laurens. 
S. K. M. B. M. 

434 — Dessins Ornementaux clans les styles Louis XVI et Empire applicables a 
la peinture decorative et a l'ornementation des tissus. Nouvelles com- 
positions par H. Frilling. Paris, n.d. One vol., folio, original boards in 
portfolio. 32 plates of textile ornamentation. 

435 — Destree — Tapisserie et Sculpture Bruxelloise a 1 'exposition d'art ancien a 
Bruxelles, organisee a Bruxelles, au cercle artistique et litteraire de Juil- 
let a Octobre, 1905. Un volume in-folio de 95 pages de texte descriptif 
avec figures de marques et monogrammes et 50 superbes planches en pho- 
totypie coloriee. Publie a 400 exemplaires. 

436 — Devonia — Honiton Lace-making. London, 1874. 8vo. 

437 — Devonshire, or Honiton Lace. 28 pp. London, 1889. 8vo. B. M. 



276 A LACE GUIDE FOE MAKERS AND COLLECTORS 

438 — De Winne, Aug. — L 'Industrie Dentelliere. Les Ouvriers dentelliers. Le 

Penple, May 8, 1903, Brussels. 
439 — Dicks, Tiros. — Is Beal Lace a Luxury? The Home Woman, December, 

1917, Toledo, Ohio. 
440 — Dictionnaire du Citoyeu. Paris, 1761. 
441 — Didron, Ed. — Septierne Exposition de 1 'Union centrale des Arts decoratifs, 

1882. Eapport sur le 2e groupe : Tapisseries, Tissus, Broderies et Den- 

telles. Paris, A. Quantin, n.d. 
442 — Dierolf, Gr. — La Dentelle francaise. A propos de l'Exposition du Musee 

Galliera. Le Gaulois, April, 1904. Paris. 
443 — Dietrich, Bernhard — Die Spitzeiii ndustrie in Belgien und Prankreich zu 

Ende des XlXn Jahrhunderts. 
444 — Dietrich, Frl. K. — Tauftuch in Leinenstickerei. Zeitsclir. des Kunst-gew. 

— Vereins in Milnchen, 1883. 
445 — Dillmont, Th. de — Album de broderies au point de croix. Vol. 1, 32 plates ; 

Vol. 2, 40 plates. P. Dollfus-Meig. (Collection of Kursheedt Manufac- 
turing Co., N. Y.) 1886. S. K. M. 
446 — Dillmont, Therese de — Album de broderies au point de croix. 3 series, 

1897, Mulhouse. Each series consists of text and plates in a portfolio. 

Soc. Anon, d 'Industrie Textile. 
447 — Dillmont, Th. de — Album of Cross-stitch Embroidery. 52 plates. T. de 

Dillmont. (Collection of Kursheedt Manufacturing Co., N. Y.) 
448 — Dillmont, Therese de — Alphabet de la brodeuse, lettres, chiffres, mono- 
grammes et ornements a points comptes suivis d'une serie de modeles 

avec caiques pour broderie de blanc: 92 plates. Dornach, 1898, Soc. 

Anon, d 'Industrie Textile. 
449 — Dillmont, Therese de. — Alphabets e t monogrammes, with supplement : 60 

plates. Dornach, Pub. by Th. de Dillmont, 1897. 
450 — Dillmont, Therese de — L'art chretien en Egypte. Motifs de broderie copte. 

2 parts, 30 plates. Dornach, Pub. by Th. de Dillmont, 1897. 
451 — Dilmont, Therese de — La broderie Sur lacis. 2 series, 20 plates. Dornach, 

Pub. by Th. de Dillmont, 1897, (in two portfolios). 
452 — Dillmont, Therese de — La broderie au passe. 20 tracings in a portfolio. 

Dornach, Pub. by Th. de Dillmont, 1897. 
453— Dillmont, Therese de— Le crochet. Dornach, 1897, Pub. by Th. de Dill- 
mont. 
454 — Dillmont, Therese de — La DentelleRenaissance. Mulhouse, Pub. by Th. de 

Dillmont, n.d. 
455 — Dillmont, Therese de — Encyclopedia of Needlework. Mulhouse, 1907. New 

Edition. Pub. by Th. de Dillmont (D. M. C. Library). 
456 — Dillmont, Therese de — Encyclopedia of Needlework. Dornach, 1890, Pub. 

by Th. de Dillmont. 
457 — Dillmont, Therese de — Encyclopedic des ouvrages de dames. Paris, Ch. 

Delagrave, n.d. 
458— Dillmont, Therese de— La Filet Richelieu. Dornach, 1897, Pub. by Th. de 

Dillmont. 



BIBLIOGRAPHY 277 

459— Dillmont, Tberese de— Filet Richelieu. Mulhouse, Pub. by Tb. de Dillmont, 
n.d. 

460— Dillmont, Tb. de— 20 plates of Cross-stitch Embroidery. Series 1 & 2. 
(Collection of Kursbeedt Manufacturing Co., New York.) 

461 — Dillmont, Tb. de — Recueil d' ouvrages divers avec les fils et le coton, D.M.C. 
T. Dillmont. (Collection of Kursbeedt Mfg. Co.) 

462 — Dilmont, Tberese de — La soutacbe et son emploi. Mulbouse, Soc. Anon, 
d 'Industrie Textile. 

463— Dilmont, Tberese de— Verlagen fur Stickereien. (Bibliotbek D.M.C. Doll- 
fus-Meig & Co.) Series 2-5. Mulbouse, 1900-1908. 

464— DTvoy, P.— L'Art Industriel, la Dentelle. "L 'Artiste," 6tb Series, 
Vol. I., p. 66. 4to. Paris, 1857. S. K. M. 

465 — Documentary Post Cards — 400 cards of the Museum of Decorative Art of 
Paris. Sloog, New York. 

466 — Documentary Post Cards — 200 cards of lace specimens. Sloog, New York. 

467 — Document du Decorateur, Le — Eeceuil de Modeles pouvant etre copies ou 
interpretes. Peinture decorative, Tissus, etc. Paris, n.d. 3 vols., 2 folio, 
one 4to, original boards, in portfolio. 108 plates of drawings for crafts- 
men. Sloog, New York. 

468 — Documents et decorations moderne. Modeles de tissus. Tapis, etoffes de 
tentures, broderies, dentelles d'apres les compositions de Bacard, Pren- 
cbais, Benedictus, etc. Un recueil in 4° de 30 plancbes en couleurs. 

469 — Documents pour dessins de tissus. Series I, 19 plates, folio. Paris, 1894. 
Series Gr, 20 plates. Series M, 20 plates. 

470 — Dodd, A. B. — Royal School of Embroideries in Atbens. Century, V. 72, 
pp. 120-126, May, 1906. 

471— Dooley, "W. H.— Knitting by Machinery. Textiles, 141-9. 

472— Dooley, W. H.— Lace terms defined. Textiles, 150-7. 

473 — Douat, pere Dominique — Metbode pour faire une infinite de desseins dif- 
ferens avec des carreaux, mi partis de deux couleurs par une ligne diago- 
nale, ou observations du pere Dominique Douat religieux, carme de la 
Province de Toulouse, sur un me moire insere dans l'bistoire de l'aca- 
demie Royale des sciences de Paris, 1'annee 1704, presente par le Reverend 
pere Sebastien Trucbet, Religieux du meme ordre, ancien Honoraire. A 
Paris cbez Florentin de Laulne rue Saint Jacques, Claude Jombert rue 
Saint Jacques, Andre Cailleau a la place Sorbonne, MDCCXXII (1722). 
In-4°. L'ouvrage va de la page 1 a la page 189. II se termine au recto 
de cette 189° page au bas de laquelle on lit: De l'lmprimerie de Jacques 
Quillau, Rue Galande, 1722. Ce recueil contient des instructions a 1 'usage 
des arcbitectes, peintres, brodeurs de tous ceux qui se servent de 1 'aiguille 
et autres. Bibliotbeque de L 'Arsenal. 

474 — Douglas, Mrs. — Tbe Imperial Macrame Lace Book. Illustrations and In- 
structions: tbree series, 4to. London, (1879). S. K. M. 

475 — Doumert, A. — La Dentelle. Origin es. Histoire. Lieux de production. 
Paris, Licene, Oudin et Cie. (1886). B. M. 

476 — Draban, E. — K. K. Oesterr. Museum Stickmuster . . . mit Beniit- 
zung der besten Vorbilder entworfen von E D. 8vo. Wien, 1873. S. K. M. 



278 A LACE GUIDE FOR MAKERS AND COLLECTORS 

477 — Dreger, Dr. Moriz — Die Entwicklung der Spitze. Westermanns Illustrierte 
Deutsche Monatshefte, Novembre, 1901, Brunswick. 

478 — Dreger, Dr. Moritz — Entwieklungs-geschiehte der Spitze init besonderer 
Riicksicbt auf die Spitzen-Sainmlung des K. K. Oestericbisehen Museum 
fur Kunst und Industrie in Wien. Wien, 1900. 8°. 

479 — Dreger, Moritz — Entwicklungs Geschicte der Spitze. V. 1-2, Vienna. A. 
Schroll & Co., 1901. Contains some patterns from Pattern-book by "R. 
M." published by Christoff Froschower. 

480 — Dreger, Dr. Moriz — Kunstlerische Entwickelung der Weberei und Stick- 
erei. Vienna, K. K. Hof und Staatsdruekerei, 1904. 

481 — Dreger, Moriz — Ornamentale und Kunstgewerbliehe Sammelinappe. Serie 
IX, Die Wiener Spitzenausstellung, 1906, in zwei tielen. 

482 — Dreger, Moriz — Die Spitzenausstellung in Ostreichischer Museum. Kunst 
und Kunstbandwerk, 1906. V. 9, pp. 366-426. 

483 — Dreger, Dr. Moriz — Die Textilausstellung des Leipziger Kunstgewerbe- 
museums. Kunst unci Kunsthandwerk, Vienna, 1902. 

484 — Dreger, Moriz — Uberblick iiber die Entwicklungsgesckichte der Spitze. 

485 — Dreger — Die Wiener Spitzenausstellung 1906. Exposition de Dentelles a 
Vienne en 1906 publie par le Musee Royal Autriebien d'art et d'industrie 
de Vienne. Deux volumes de 60 photographies donnant 206 reproduc- 
tions documentaires de Dentelles avec texte descriptif et coivp d'oeil sur 
revolution historique de la dentelle en 28 pages de texte et 45 reproduc- 
tions. 

486— Dryden, Miss— Article in Pall Mall Magazine, March, 1890. 

487 — Dryden, Miss Alice — Les Dentelles de Honiton. Revue des Revues. De- 
cember, 1897, Paris. 

488— Dryden, Alice— Flemish Lace. Pall Mall Magazine, V. 23, p. 91. 

489 — Dryden, Miss Alice — Honiton Lace. 

490 — Dryden, Alice — Honiton Lace, History of its Manufacture. Pall Mall Mag- 
azine, V. 11, p. 492. 

491 — Dryden, Miss Alice — The Lace of Flanders. Pall Mall Magazine, Jan- 
uary, 1901, London. 

492 — Dryden, Miss Alice — Pillow Lace in the Midlands. Pall Mall Magazine, 
March, 1896, London. 

493— Dublin Exhib, 1865— Illus. Cat. of the Dublin International Exhib. of 1865. 
Class 19 b. Lace and Embroidery. 8vo. Dublin, 1866. S. K. M. 

494 — Dublin Exhibition, 1853 — Irish industrial exhibition of 1853 ; Detailed Cat. 
of its contents, etc. Class 18. Lace and embroidery. 8vo. Dublin, 1854. 
S. K. M. 

495 — Dubochet, Leon — Dentelles et Dentellieres. Le Steele, Feb. 23, 1903, Paris. 

496 — Dubois — Variarum protractionum quas vulgo Maurusias vocant omnium 
anteliac excusarum libellus longe copiasissimus pictoribus, aurifabris, 
polymilariis, barbaricariis variisque id genus artificibus etiam acu operan- 
tibus utilissimus nuncque primen in lueem editus anno 1554. Balthazar 
Sylvius (Dubois) fecit. Jo. Theodoret, Jo. Israel de Bry excud. In 4to, 
ff. 23, copperplate. Paris, Bib. Nat. Milan, Bib. Belgiosa and Marquis 
d'Adda. 



BIBLIOGRAPHY 279 

497— Du Bois, Mrs. E. E.— Lace. Hours at Home, V. 3, pp. 226, 311. 

498 — Duchene, Mile. V. H. — Projet de cliemin de table en dentelle. Art ap- 
plique. Ire annee. Nappe en dentelle. Art applique, 2e annee, Paris. 

499 — Ducpetiaux — Memoirs sur le pauperisme dans les Flandres. (Extrait du 
Bulletin de la Commission dentrale de statistique.) 

500 — Duguet, Camille — Femmes et dentelles. La Dentelle, 1904, Paris. 

501 — Duhayon — Rapport sur les Dentelles, Tulles, Broderies, et Passementeries. 
(Paris, Exposition Universelle de 1878.) Paris, 1880, 8vo. 

502 — Duplessis, G. — Articles in Revue des Arts Decoratifs, Feb. & Mar., 1887. 

503 — Dupont-Auberville — Art Industrie! L'Ornement des Tissus. Eecueil Ms- 
tori que et pratique. Paris, Ducher et Cie, 1877, (Collection of Kursbeedt 
Manufacturing Co., N. Y.) 

504 — Dupont-Auberville — La Dentelle, XV et XVI siecles. Eouveyre. (Collec- 
tion of Kursbeedt Manufacturing Co., N. Y.) 

Durand — See Armand-Durand. 

505 — Durer, Albert — Dessins de Broderies sur fond noir. in-40. Quatre pieces. 
(Bartcb 140-141-142-143.) 

506 — Dussen, B. van der — L 'Industrie Dentelliere Beige. Brussels, 1860. 

507 — Dussen, Banoit van der — L 'Industrie dentelliere beige. Brussels, 1868. 

508 — Duval, Louis — Documents pour servir a PHistoire de la Fabrication du 
Point d'Alengon. Extr. Bulletin Societe historique et acheologique de 
I'Orne. Alengon, September, 1882. 

E 

509— Earle, A. M.— Samplers. Century, V. 83, pp. 676-685, Marcb, 1912. 

510 — Ebbardt, Franz — Book of Hardanger Work. 2d edition. (Collection of 
Kursbeedt Manufacturing Co., N. Y.) 

511 — Ecbte Spitzen-oestereicb. Paramente. (Collection of Kursbeedt Manufac- 
turing Co., N. Y.) 

512 — E'Ecole de dentelles a Burano. Venice, Kircbmayer et Scozzi. 

513 — Ecoles dentellieres en Autricbe. Varia. Centralblatt fur das Gewerbl. 
Unterrichtsivesen in dsterreich,'XXI, Vienna, Alf. Holder, 1903. 

514 — Edmonds, Kate Leila — Pillow Lace. The Lady's Realm, June, 1902, Lon- 
don. 

515 — Edson, Myra Burr — Devonshire Lace. The Art World, Dec, 1917, New 
York. 

516 — Egenolff, Cbr. — Modelbiicb aller Art Nebewercks und Stickens etc. 1527. 

517 — Egenolff, C. — Modelbucb, aller art Nebewercks und Stickens. Mit ettlicb- 
en newen kunstlichen vormals verbaltenen Stucken und Stabelen. Als 
Venedigiscbe Stern Und Gewirck. Uffder Laden Und nach der Zal. Die 
Weliscb weiss Arbeit. Glattstich Creutzsticb Stickwerck etc. Francken- 
fort a. M. Christ. Egenolff. 1533. 4°. 71 cuts. D. K. S. 

518 — Egenolff, C. — MOdelbueh, Nebwens, Stickens, vnd Wirckens. Getruckt zu 
Franckfort, Bei Christian Egenolff s Erben. 4°. 32 cuts. B. K. M. 

519 — Egenolffs, C. — Modelbiicb, von erhabener unnd flacher Arbait, Auff der 
Eamen, Laden, und nach der Zale. Getruckt zu Franckfort, Bei Chris- 



280 A LACE GUIDE FOR MAKERS AND COLLECTORS 

tian Egenolffs, Erbeu. The date, 1537, occurs on one of the patterns. 
4to. 32 leaves. 178 patterns. 62 gravures sur bois. Frankfort, 1537. 

520 — Egenolff, Chr. — Modelbucb Welcber Ober vfi Niderlandischer Arbait. 
Franckfurt. Chr. Egenolff. 4°. 28 cuts. Sigs. A— G4. B. K. M. 

521 — Egenolff, C. — Modelbucb, aller art Nehwens vnd Stickens. Mit etbcben 
newen, Kiinstliclien, vormals verbaltenen Stucken vnd Stablen, Als : Ven- 
edigscbe Stern vnd Gewirck. Auf der Laden, vnd nacb der Zal. Die 
"Welscb, Weiss Arbeyt. Glattsticb, Creutzstich, Stickwerck . . . Getruckt 
zu Franckfort, Bei Christian Egenolffs seligen Erben. 4°. 32 cuts. 
B. K. M. 
— Egenolffs, Chr. — See Kunstgewerbe Museum zu Leipzig. 

522 — Egenolff, Chr. — Modelbvch aller art Nehwens vnnd stickens. Mit etlichen 
newen kiinstliclien vormals verbaltenen stucken, vnd staheln Als : Ven- 
edische stern vnnd Gewirck. Auff der laden vnd nach der Zal. Die Welsch, 
Weisz arbeit. Glattsticb, Creutzstich, stickwerck ... & Franckfurt 
Bey. Christ Egenol. Erben, 1593. In-4° gothique. Le titre rouge et 
noir est orne d'un tres joli bois representant une assemblee de dames tra- 
vaillant dans un jardin. En bas dans un encadrement forme par un trait 
carre, une femme travaillant a un metier de haute lisse. Au milieu deux 
autres femmes regardant un homme debout qui s'adresse a, elles. Au fond 
a droite une vieille femme filant une quenouille. Au verso du 4e feuillet 
du cahier H, un cceur perce et entoure des deux mains et des deux pieds 
de Notre-Seigneur perces egalement. Au-dessous 2 neurons et le mille- 
sime MDXCIII. Tres joli livre, charmants motifs, pris a droite et a, 
gauche dans differents ouvrages. Entrelacs, tapisseries, fleurons, alpha- 
bets, etc. 

523 — Einfiihrung der Spitzen— Industrie in Wien. Mittheil. des K. K. oesterr. 
Museums fur Kunst und Industrie, September, 1897, Vienna. 

524 — Eitelberger, R. von — Original — Stickmuster der Renaissance in getruen 
Copien vervielfaltigt, etc. (Reproductions of 50 pp. of designs of lace 
and needlework, from original specimens in the Vienna Mus.) 4to. "Wien, 
1874. S. K. M. 

525— E., K. A.— The Creeve Knitting Card. Kingstown, 1895. In British 
Museum. 

526 — Elements d'enquete sur le role de la femme dans 1 'Industrie en Belgique. 
Brussels, A. Lesigne (1893). 

527 — Ellerbe, R. L. — Fostering Lace-making in Russia. Craftsman, V. 21, pp. 
214-217, November, 1911. 

528 — Embroidery and Lace. The Saturday Review, Sept. 8, 1888, London. 

529— Emden, Frieda van— The Old-Fashioned Sampler. The Art World, Dec, 
1917, New York. 

Encyclopaedias : — 

530 — Encyclopaedia Britannica ("Embroidery," Vol. VIII.; "Lace," Vol. 
XIV.) 9th edit. 4to. Edinburgh, 1875, et seq. S. K. M. 

531 — The English Cyclopaedia. ("Lace," Arts and Sciences, Vol. V.) 
23 vols. 4to. Lond., 1854-62. S. K. M. 

532— The Penny Cyclopaedia. ("Lace," Vol. XIII.) 29 vols. Lond., 
1833-58. S. K. M. 



BIBLIOGRAPHY 2S1 

533— The Popular ("Embroidery," Vol. V., p. 151. "Lace," VIII., p. 
598.) 14 vols. 8vo. Lond., 1874-76. S. K. M. 

534 — Encyclopedie ; ou Dictionnaire raisonne des Sciences, etc. ("Dentelle," 

Vol. IV.) fol. Paris, 1751-80. S. K. M. 

535 — Engerand, Pernand — La Dentelle au Musee Galliera. Revue de I'Art An- 
cien et Moderne, V. 15, pp. 351-362. 

536 — Engerand, Fernand — La dentelle aux fuseaux en Normandie. (Musee so- 
cial, May, 1901.) 

537 — Engerand, Pernand — La Dentelle de France. Le Cor respondent, April 25, 
1904, Paris. 

538 — Engerand, Fernand — L 'Industrie de la Dentelle en Normandie. Revue 
des deux Mondes, April 1, 1900, Paris. e 

539 — Engerand, Fernand — Proposition de loi. Pour la Dentelle. L'Ami de 
I'Oron, 1903-1905, Caen. 

540 — Engerand, Fernand — Proposition de loi relative a l'apprentissage de la 
dentelle a la main. Expose des motifs, Jan. 28, 1903. 

541 — English Lace for New York — Vogue, April, 1917, New York. 

542 — Enquete sur la condition des classes ouvrieres. Brussels, 1846. 

543 — Erculei, E. — Eoma, Esposizione del 1887. Tessuti e Merletti. Oatalogo, 
con brevi cenni sull' arte tessile in Italia. Roma, 1887, 8vo. 

544 — Errera, Madame Isabelle — Collection d'etoffes anciennes reunies et de- 
crites. Catalogue orne de 420 photogravures executees d'apres les 
cliches de l'auteur. Un volume In-80 carre de 200 planches de texte. 
Ouvrage tres documente donnant la description generate de cette impor- 
tante collection leguee par l'Auteur aux Musees des Arts decoratifs du Cin- 
quantenaire a, Bruxelles. 

545 — Erwin, E. A. — Lace Workers of the Italian Quarter of New York. Crafts- 
man, V. 12, pp. 404-409, July, 1907. 

546 — Esemplare che insegna alle donne el modo di cucire. Venetia, 1543. Quoted 
in Cat. Cappi of Bologna, 1829. 

547 — Experton (R.) — L'Impot des Patentes et la fabrication de dentelles du Puy, 
1861. 

548 — Expose decennal de la situation du Royaume. Brussels, 1851, 1860, 1863. 

549 — Exposition de l'Union Centrale desArts decoratifs 1906. Les grandes col- 
lections de dentelles anciennes et modernes exposees au Pavilion de Mar- 
san. 48 planches. Paris (1906). 

550 — Exposition des Dentelles, Rome, 1887. Catalogue des reproductions. 16 
pp. Roma, 1887. 8vo. B. M. 

551 — Eyelet Embroidery and a Jour Work. Delineator, V. 64, pp. 262-263, 
August, 1904. 

552 — Eze, G-.d' — Dentelle aux fuseaux. Journal des Dames et des Demoiselles, 
Jan. 16, 1900, Brussels. 

553 — F., A. — Ein new modelbuch auff auzsnehen vnd porten wircken in der 
laden vnnd langengestell Gemert rnd gepessert mit 105. andern Modeln. 
Im iar. MDXXVij. (1527.) Petit in-4°. Ce titre est dans un cadre 



282 A LACE GUIDE FOR MAKERS AND COLLECTORS 

reetangulaire forme par un trait carre, an haut d'une arcade a cintre sur- 
baisse reposant sur deux colonnes, aux frits desquels sont aecroches un 
ecusson. En bas deux femmes de profil a gauche, travaillant chacune a 
un metier. 24 feuillets signes: A. F. Cet exemplaire 1527, ne parait 
pas complet. 

554 — F., A. — En newe Kunstlich Mcetdelboch alle Kunster zo branchen fiir 
snyczeller, Wapensticker, perten sticker, etc. Vnhd ouch fur sonferen 
vnd Frauwe nstlich vff. das neuwes gefonde, alien den gene di vpff 
Kunste verstat habe. Gedruckt zu Collen durch Peter Quentel im Dair 
MDXXIX. (1529). Petit in-4°. Le volume est compose de 24 feuillets 
signes: A. F. entierement remplis par des dessins de broderies, sauf le 
titre qui est au recto du premier feuillet et un portrait de Charles V, au 
verso de ce meme feuillet. La dernier e page comprend au recto un alph- 
abet et au verso les armes de la vi lie de Cologne avec les mots: Felix 
Coloniae. Vente Libre a Londres en 1862. 

555 — Fabrication du Tulle dans le Luxembourg, De la — Institut archeologique 
du Luxembourg. Annates, 1902. 

556 — Fage, Bene — Une boutique de marchand a, Tulle au XVIIe siecle. Tulle, 
Crauffon, 1886. 

557 — Fage, Bene — Le Point de Tulle. Bull. Soc. Lettres. Sciences et Arts de la 
Correze. 1882, Tulle. 

558 — Faggotting Stitches used in Embroidery. Delineator, V. 64, pp. 780-781, 
November, 1904. 

559 — Falke, J. — Fransen und Quasten. Eine Passementerie — Studie "Blatter 
fiir Kunstgewerbe," Vol. IV., p. 1. 4to. Wien. 1875. S. K. M. 

560 — Falke, J. — G-eschichtlicher Gang der Stickerei bis zu ihrem Verfall im 
Aufange des 16. Jakrhunderts. "Liitzow, Zeitschrift fiir bildende 
Kunst," Vol. IV., pp. 233, 273. 4to. Leipzig, 1869. S. K. M. 

561 — Farcy, L. de — Broderies et tissus, conserves autrefois a la cathedrale 
d 'Angers. "Bevue de Part chretien." Vols. XXXIV, p. 270; XXXV, 
pp. 168, 299. 4to. Paris, 1884-5. S. K. M. 

562 — Farcy, L. de — La Mitre et la Chape. Brodees par M. L. Grosse, de 
Bruges. "Bevue de l'Art chretien," vol. XXXV., p. 198. 4to, Paris, 
1885. S. K. M. 

563 — Faure et Bapp — Compositionen fiir Spitzen in modernem Geschmack. 
Plauen, Chr. Stoll, n.d. 

564 — Fawcett, W. — Irish Lace-Making. The Independent, V. 74, pp. 158-159, 
Jan. 16, 1913. 

565 — Federation Archeologique et Historique de Belgique. Congres d'Enghein, 
1898. 

566 — Federation Archeologique et Historique de Belgique. Congres de Bruges, 
1902. 

567 — Felix Aubert — (Tapis, Dentelles etc.) L'Art decoratif, January, 1899, 
Paris. 

568 — Felkin, "William — History of Machine-Wrought Hosiery and Lace Manufac- 
tures. London, 1867. 8vo. 



BIBLIOGRAPHY 283 

569 — Felkin, W. — Hosiery and Lace (in "British Manufacturing Industries," 
edit, by G. P. Bevan). 16 mo. Loud., 1876. S. K. M. 

570 — Felkin, W. — Machine Wrought Lace, History of Trade in. Journal of So- 
ciety of Arts, V. 4, p. 475. 

571 — Ferguson fils, S. — Les Dentelles aux fuseaux et les Dentelles niecaniques 
a 1 'Exposition de Londres de 1862. Amiens, T. Jeunet, 1863. 

572 — Ferrari — Origines de la dentelle de Venise et l'ecole de Burano. Venice, 
1907. 

573 — Fartiault, Francois de — Histoire de la dentelle. Paris, 1843. 12 mo. 

574 — Few Remarks about Lace and Pattern Books, A. The Connoisseur, April, 
1902, London. 

575 — Field, M. A. — Australian Lace-Crochet. 107 pp. Simpkin & Marshall, 
1909. 4°. B. M. 

576 — Figure Laces of Exquisite Type. The Upholsterer, New York, 1916. V. 
64, No. 4, pp. 72-74. 

577 — Fillebrown, Mrs. R. H. M. — Quaint Cross-stitch in New Patterns. Woman's 
Home Companion, V. 40, pp. 50-51, October, 1913. 

578— Finch, L.— Sermon in Patchwork. Outlook, V. 108, pp. 493-495, Oct. 28, 
1914. 
— Finkel, Ostr. — See Boehn, Max von. No. 130. 

579 — Fiori di Ricami, nvova mente posti in luce, ne i quali sono varii, et diversi 
Disegni di lavori, Come merli, Bauari, Manichetti et altre sorte di opere 
che al presente sono in vsu, utilissimo ad ogni stato di donna. Bologne, 
1591. 20 feuillets et 18 planches. 

580 — Firth, J. B. — Nottingham Lace and Fashion. The Economic Journal, De- 
cember, 1893, London. V. 3, p. 709. 

581— Fischbach, F.— Album fur Stickerei. (Colored illus.) 4to. Wien, 1870. 
S. K. M. 

582 — Fischbach, Friedrich — Lace Album. London, 1884. 

583 — Fischbach, F. — Neue Muster fiir Stickerei und Haekel — Arbeiten von F. F. 
in Hanau. 16mo. Hanau, 1881. S. K. M. 

584 — Fischer, Hugo — Technologische Studien im Sachsischen Erzgebirge. Leip- 
zig, 1878. (Diagrams of lace stitches and patterns.) 

585 — Fischer, H. — Zur Technologie der Handspitzen. Der Civilingenieur, 1878, 
Leipzig. 

586 — Fleurs batiste. 65 photographs. P. Calavas. (Collection of Kursheedt 
Manufacturing Co., N. Y.) 

587 — Florimi, Mattheo — Fiori di Ricami nvovamente posti in lvce, ne i quali 
sono varii et diversi disegni di lavori, Come merli, Bauari, Manichetti, 
et altre sorte di opere che al presente sono in vsu utilissimo ad ogni stato 
di donne. In Fiorenza ad instanza di Mattheo Florimi. 1596. Petit in 4° 
oblong. Vente Yemenitz. 24 plates and 2 leaves of text. Bibliotheque 
Nationale. 

588 — Florimi, Matteo — Fiori di Ricami nvovamente posti in luce. Ne i quali 
sono varii, et diversi disegni di lavori. Come Merli, Banari, Manichetti, 
& altre sorte diopere, che al presente sono in vso, vtilissimi ad ogni stato 



284 A LACE GUIDE FOR MAKERS AND COLLECTORS 

di Donne. In Siena, Appresso Matteo Florimi, 1603. 4to. obi. 24 plates 
representing lace. Collection Count Manzoni, Turin. 

589 — Florimi, Mattheo — Fiori di Eicanii nuouamente posti in luce. Ne i quali 
sono varie et diversi disegni di lavori. Come merli, Bavari, Manichetti, 
et altre sorte di opere, che al presente sono in usu utilissimo ad ogni 
stato di Donne. In Siena, appresso Matteo Florimi. 1604. In-4° oblong. 
Ce titre est renferme dans une petite bordure de nielles graves sur bois. 
Eien au verso. Page non cotee. Dedicace, Alle gentillissime et virtuo- 
sissime Donne. Matteo Florimi. Eien au verso. Puis commencent les 
broderies. 18 pages, contenant des broderies, guipures ou dentelles. En 
resume 20 feuillets dont 18 de planches de broderies. Vente Destailleurs. 

590 — Florimi, Mattheo — Gioiello della Corona per le nobili e virtvose Donne, Nel 
quale si dimostra altri nuovi bellissimi dissegni de tutte le sorte di mostre 
di Punti in aria, Punti tagliati et Punti a Eeticello; Cosi per Freggi, 
come per Merli et Eosette che con l'aco si usano hoggidi per tutta 
Europa. Et molte delle quali mostre possono servire ancora per opere a 
Mazette. Novamente posto in luce con molte bellissime inventioni non 
mai piu usate, ne vedute. In Perugia apresso Pietro Paolo Orlando, 1594. 
Ad instantia di Matteo Florimi. In-4° oblong. Ce titre est renferme dans 
une petite bordure de nielles graves sur bois. Dedicace alia virtuosissima 
et ingegniosissima Donne Matteo Florimi. 37 pages contenant des bro- 
deries, des guipures ou dentelles au recto des pages. Ces planches sont 
pour la plupart tirees de la Corona de Vecellio, surtout des 3e et 4e 
parties. On trouve meme parmi ces modeles l'embleme du Eenard et de 
la beaute, et la figure de Vesta. En resume, 39 feuillets dont 37 de bro- 
deries. Vente Destailleurs, 1895. Une edition de 1596. Vente Pirovano, 
Eome, 1901. 

591 — Florini, M. — Gioiello della Corona per le nobili, e virtuose donne. Nel 
quale si dimostra altri nuoui bellissimi dissegni di tutte le sorte di mos- 
tre di Punti in Aria, Punti tagliati, & Punti a Eeticello, cosi per Fregi, 
come per Merli, & Eosette, che con PAco si vsano hoggidi per tutta 
Europa. Et molte delle quali mostre possono seruire ancora per Opere 
a Mazzette, Nouamente posto in luce con molte bellissime inuentioni non 
mai piu vsare, ne vedute. In Fiorenza, Appresso Francesco Tosi. 
MDXCVE. Ad instantia di Matteo Florini. 4°. Title, dedication, 30 
leaves, cuts. V. & A. M. 

592 — Florimi, Matteo — Gioiello della corona per le nobili e virtvose donne, Nel 
quale si dimostra altri nuovi bellissimi dessigni di tutte le sorte di Mostre 
di Punti in aria, Punti tagliati, et Punti a reticello, cosi per Fregi come 
per Merli et Eosette, che con l'aco si usano hoggidi per tutta l'Europa. 
Et molte delle quali mostre possono servire ancora per opere a Mazzette. 
Nuovamimte posto in luce con molte bellissime inventioni non mai piu 
usate ne vedute. In Siena appresso Matteo Florimi, MDCIII (1603). In- 
4° oblong. 48 planches gravees sur bois. 2ff. titre et dedicace. Dans 
la preface on parle d 'editions anterieures donnees par le meme editeur 
et on y tr-ouve le passage suivant: Non vi dovete maravigliare sio di nuovo 
mand? foiori altre foggie di lavori . . . di numero et di vaghezza 



BIBLIOGRAPHY 285 

superiore a quelle eke da me fur one raceolte l'anno passato ... II 
y aurait done eu de cet ouvrage une edition de Florimi en 1602. Brus- 
sels, Bib. Boyale. 

593 — Florimi, Matteo — Gioiello della Corona per le nobili e virtuose Donne. Nel 
quale si Dimostra altri nuovi bellissimi dessigni di tutte le sorte di Mostre 
di Punti in aria, Punti tagliati et Punti aBetieello, Cosi per Freggi come 
per Merli et Bosette, che con l'aco si usano boggidi per tutta Europa. Et 
molte delle quali Mostre possona servire ancora per opere a Mazette. Nuo- 
vamente posto in luce con molte bellissime inventioni non mai piu usate, 
ne vedute. In Siena appresso Matteo Florimi, MDCIIII (1604). In-8° 
oblong. Ce titre est enferme dans une petite gravure de nielles formant 
bordure. Dedicace: Alle virtuosissime et ingeniosissime Donne Matteo 
Florimi. 32 pages, contenant des broderies, guipures ou dentelles, im- 
primees seulement au recto des pages. Ces plancbes sont pour la plupart 
tirees de la Corona de Vecellio mais sont differentes de celles contenues 
dans le volume de ce meme ouvrage et paru a Perouse en 1594. En resume 
34 feuillets dont 32 de broderies. Vente Destailleurs. 

594 — Florimi, Matteo — Gioiello Della Corona Per le Nobili, E Virtuose Donne 
. . . tagliati, & Punti a. Beticello, cosi per Fregi, come per Merli, & 
Bosette, che con l'Aco si vsaro lioggidi per tutta Europa. Et molte delle 
quali Mostre possono seruire. Ancona per opere a Mazzette. Nouamente 
poste in luce con molte bellissime inuentioni non mai piu vsate, ne vedute. 
Iu Siena, Appresso Matto Florini. MDCIIII. 4°. Title, 1 p., 23 cuts. 
B. K. M. 

595— Florio— A Worlde of Worcles. 1598. 

596 — Florio and Torreano — Dictionary. London, 1654 and 1659. 

597 — Foillet, Jacques — Nouveaux pourtraits de point coupe et dentelles en 
petite, moyenne et grande forme. Nouvelement inventez et mis en Lu- 
miere. Imprime a Montbeliard par Jacques Foillet, 1598, petit in-4°, fig- 
ure sur bois. II se compose de 4 feuillets preliminaires (dont un blanc) 
pour le titre, un avertisement aux dames et demoiselles de 3 pages ; et une 
Exhortation aux jeunes filles en vers. Ensuite viennent 84 feuillets 
signes B.-Y. par 4 (le dernier blanc contenant chacun une planche de den- 
telle) Guilmard ne signale que 82 feuillets contenant 78 planches. 

598 — Foillet, Jaques — Nouveaux pourctraicts de point coupe et dantelles en pe- 
tite moyenne et grande forme nouvellement inventez & mis en lumiere 
Imprime a, Montbeliard par Jacques Foillet clobxeiix (1598). Small 4to, 
82 ff., 78 plates. Frontispiece with borders composed of squares of point 
coupe. "Avertissement aux dames," of three pages, stating these works 
are all composed of "point devant l'esguille, de point en toille, en 
bouclages, & de cordounages." The writer gives patterns of roses of all 
sizes, "very little, middling, large, and very large," with from one to nine 
pertuis, or openings, holes. Also Carreaux in different forms, and lastly 
dantelles. 40 patterns of ' ' roses, ' ' of point coupe. And 18 of " Car- 
reaux," variously disposed. Then follow 20 patterns of lace, of "bien 
petites, moyennes, & grosses," all "au point devant l'Esguille." At the 
end: "La fin courone l'ceuvre." This is the earliest pattern-book in 



386 A LACE GUIDE FOR MAKERS AND COLLECTORS 

which the word "dantelle" occurs. Bib. Nat., Bib. de 1 'Arsenal, Bib. Ste. 
Genevieve. 

599 — Foillet, Jaques — Novveaux Povrtraicts de point covpe et dantelles en petite, 
moyenne et graude forme. Nouuellement inuentez et mis en lumiere. Im- 
prime a Montbeliard Par Iaques Foillet, CIOIOXCIIX (1598). Au-des- 
sous des mots, mis en luminere, dans le titre, on vqit un mascaron a tete 
humaine dont les moustaches s'enroulent dans l'eeusson qui renferme ce 
mascaron. Le titre est au centre d'un eneadrement rectangulaire com- 
pose de petits carres de guipure places les uns a cote des autres. Rien au 
verso du titre. Aij, au recto de cette page: Avertissement aux dames et 
damoiselles. Au verso, suite de 1 'avertissement. Aiij, fin de l'avertisse- 
ment. Au verso, piece de vers intitulee : Exhortation aux ieunes filles, et 
finissant par les mots : Car la vertu est la vraye noblesse. La derniere 
planche n'est pas cotee. Elle porte en bas: La fin corone l'ceuvre. En 
resume 87 feuillets dont un titre et 83 planches de broderies. Vente Ye- 
menitz, n° 1105 du catalogue, vendu 390 francs. Suivant le marquis 
d'Adda il y aurait de ce livre une reimpression en 1602 et 1622, meme 
format, meme nombre de feuillets et de planches. II cite egalement mie 
edition, ou se trouveraient en tete les trois parties de l'ouvrage du Vin- 
ciolo. Les nouveaux pourtraicts imprimes a Montbeliard en 1598, c'est- 
a-dire le livre dont nous venons de donner la description en serait la qua- 
trieme partie qui seinblerait etre imprimee ici pour la premiere f ois, Le cata- 
logue d'une vente publique qui a eu lieu a Anvers le 29 mars 1864, sous le 
numero 528, cite un bel exemplaire de ces quatre parties, Paris 1598, Mont- 
belliard, Foillet, meme date, reliees dans un seul volume et off rant ainsi 
tout ce que le Vinciolo a publie a differentes reprises. Vente Bancel, mai 
1882, catalogue n° 208, vendu 1.300 francs. Vente Foulc, June, 1914, No. 
76, 3,650 francs. Bibliotheque Nationale. 

600 — Foillett, Jaques — New Modelbuch darinnen allerley ausgeschnittene Arbeit, 
in kleiner, mittelmassiger und grosser form erst neulich erfunden. Allen 
tugenden Frawen vnnd Jungfrawen sehr nutzlich. Gedruckt zu Muinpel- 
garten durch Jacob Foillet, 1598. Sm. 4to. (Woodcut patterns for lace.) 
Cited by Cav. Merli, in his Origine delle Trine. Cat. Evans, Strand. V. 
& A. M. 

601 — Foillet, Jaques — New Modelbvch Darinnen allerley aussgeschnittene ar- 
beit in Kleiner mittel massiger vnd grosserform, erst newlich, erfunden. 
Allen Tugendsammen Frawen vnnd Jungfrawen, sehr nutzlich. Gedruckt 
zu Basel, Miimpelgarten. In verlegung Ludwig Konigs, MDCI (1601). 3 
ft. 1 folio blanc et 84 planches. Titre encadre, imprime en rouge et noir. 
Les 2 feuillets qui suivent le titre, contiennent une epitre allemande de 
Jacques Foillet a Sybylle, duchesse de Wurtemberg et de Teck, comtesse 
de Montbeliard, (epitre datee du 4 Janvier 1598). Cet ouvrage est 
une edition allemande du livre de broderies que Jacques Foillet publia 
d'abord en francais sous le titre Nouveaux pourtraicts de pont coupe . . . 
&. Catalogue Bancel. Bibliotheque du Baron James de Rothschild. 

602 — Foillet, Jacques — Das Musterbuch des Jacques Foillet, 1598. Berlin, E. 
Wasmuth, 1891. B. M. 



BIBLIOGRAPHY 2$? 

603— Foilett de Montbeliard, J. — Nouveaux pourtraicts de point coupe et den- 
telles en petite, moyenne et grand e forme, nouv. inv. et mis en lumiere par 
J. Foillet (Montbeliard 1598). Facsimile-reproduction, Berlin, 1891. 82 
pages, 78 plates of patterns. 

604 — Fontaine, Angele, at Levallois-Perret — Mouclioir. Art applique, 2e annee, 
Paris. 

605 — Forbes, Mrs. A. S. C. — Lace-making by. Indian Women. Out West. V. 16, 
p. 613. 

606 — Foresto, Iseppo — Lo Splendore delle virtuose giovani con varie niostre di 
fogliami e punti in aere. Venezia. Per Iseppo Foresto in calle dell' 
acqua a S. Zulian all' insegno del Pellegrino, 1558. 16 plates. Cat Cicog- 
nara. 

607 — Forkel, A. — Die Arten der Spitze in moderner Bearbeitung. Plauen, C. 
Stoll, 1908. 

608 — Forkel, Albert — Moderne Zierformen fiir Textil-Industrie. Plauen, Clir 
Stoll, n.d. 

609 — Forkel — Photographs of Laces. 16 plates. (Collection of Kursheedt Man- 
ufacturing Co., N. Y.) 

610 — Fortunato, A. — Le Pompe di Minerva, per le nobili e virtuose donne, cbe 
gon industriosa mano, di tratteuersi dilettano in far Eezze, maglia quadra, 
punti in aria, punti tagliati, punti a reticello, cosi per fregio, come per 
merletti e rosette di varie sorti, si come oggidi con l'aco di lavorar usati 
per tutta l'Europa, arricbite di bellissimi et vaghi intagli cavati da piu 
celebri autori di tal professione. In Pistoja, per Fier. A. Fortunato. 
In-8° oblong. Dedicace a : Catarina Giralclini in Cellesi, 20 augusto, 1642. 
Cette description a ete communiquee au marquis d'Adda, par le comte 
Manzoni qui a vu le livre a San-Marino, cbez M. Parenti Bonelli. 

611 — Foster, Kate — Fifty Designs for Mexican Drawn-work. 1889. 

612 — Four Easter Crochet Ideas. Ladies Home Journal. V. 20, p. 48, April, 
1903. 

613 — Fox, Catherine T. D. — The Woodward Collection of Old Lace. Reprinted 
from the Brooklyn Museum Quarterly, October, 1915. 

614 — Fox, Edith Long — With the Devonshire Lace-makers. Cassell's Family 
Magazine, December, 1893, London. 

615 — Fozzi, P. P. — A book of models for point coupe and embroidery, published 
at Padua, October 1st, 1604, by Pietro Paolo Fozzi, "Romano." Musee 
de Cluny, Paris. 

616 — Fraipont — L'Art dans les travaux a l'aiguille un volume de 160 pages avec 
39 dessins inedits de l'auteur et un album de 32 doubles planches en cou- 
leurs donnant les specimen de tissus de toutes les epoques. 

617 — Franceschi Domenico de — Fede. — Opera nova intitolata La Fede. Dei 
Recami nella quale si contiene varie diverse sorte di mostre di punto 
scritto tagliato, in stuora, in Rede, opera non men necessaria che utile. 
In Venetia appresso Domenico de Franceschi in Frezzaria all. insegna 
della Regina. MDLXIIII. In-4°. Riche encadrement au litre. Lucrece 
instruisant ses femmes. Figures et paysage anime d'enfants et d'anges. 
On voit dans le present titre le monogramme TvP ou TMP. 16 feuillets 



288 A LACE GUIDE FOR MAKERS AND COLLECTORS 

doiit uu titre grave, 1 feuillet d'avant-propos, Aij, avec dessin au verso. 
14 feuillets avec 29 planches au recto et au verso. Vertte Santarelli. In 
4to, ff. 16. In his Avis au Lecteur, Franceschi alludes to three other 
works he had published, styled La Regina, La Serena, and La Speranza. 

618 — Franceschi, Domenico de — Serena opera nova di recami, nella qvali si rit- 
rova varie et diverse sorte di punti in stuora, et punti a filo et medesima- 
mente di punto scritto et a fogliami et punto in stuora a scacchetti et al- 
cuni groppi incordonati et rosete doue ogni virtuosa giouene facilissinia- 
mente fare ogni sorte di bellissimo lahoriero, opera non men vtile che 
necessaria. (Au-dessous de la gravure sur bois qui accompagne ce titre.) 
In Venetia appresso Domenico de Franceschi in Frezzaria all insegna 
della Regina MDLXIIII (1564). In-4° oblong. Au-dessous du titre, une 
marque d'imprimerie forme d'un cartouche de cuirs enroules, au haut du- 
quel on voit a droite et a gauche, un petit genie aile. Au milieu de ce car- 
touche, un champ a 4 lobes, dans lequel on voit sur des nuages deux petits 
genies ailes, tenant des couronnes, elevees au-dessus de leurs tetes. Au- 
dessus d'eux on lit les mots Et animo et corpore. Au verso, une dedicace 
aux lecteurs, datee de Venise 12 octobre MDLXIII (1564). Puis les bro- 
deries. Done en tout 16 feuillets dont un titre et 29 planches de broderies. 
Vente Eiva, 1856, vendu 245 francs. Vente Yemenitz, 1867. B. M. 

619 — Franceschi, D. de'. — Serena opera noua di recami, nella quale si ritroua 
varie & diuerse sorte di punti in stuora, & punti a filo, & medesimamente 
di punto scritto & a fogliami, & punto in stuora a scacchetti, & alcuni groppi 
incordonati, & rosete, doue ogni virtuosa giouene potra facilissimamence 
fare ogni sorte di bellissimo lauoriero. Opera non men vtile che neces- 
saria. In Venetia, Appresso Domenico de' Franceschi, in Frezzaria, all' 
insegna della Regina M D LXIIII. 4°. Title 1 p., 27 leaves. 

620 — Franceschi, D. — Serena opera nova di Recami, nella quale si retrova varie 
et diverse sorte di punti in stuora, etc. Obi. fol. Venezia, D. de Fran- 
ceschi, 1564. Fac-simile re-print, 27 patterns, Ongania, Venice, 1879. 

621 — Franceschi, F. di — Prima Parte de' fiori, e disegni di varie sorti di Ricami 
moderni come merli, bavari, Manichetti al presente sono in uso. In 
Venetia, Appresso Franceso di Franceschi Senese all' insegna della Pace 
1591. Obi. 8vo, 20 ff., 17 plates in the style of Vecellio. Bib. de 1' Ar- 
senal. — Bib. Bodleian. 

622 — Franceschi, F. di — La vera perfettione del disegno di varie sorti di ricami 
& di cucire ogni sorti de punti a f oglami, punti tagliati, punti a fili & ri- 
messi, punti incrociati, punti a stuoro & ogn' altre arte, che dia opera a 
disegni. E di nuovo aggiuntovi varie sorti di merli, e mostre, che al pre- 
sente sono in uso & in pratica. In Venetia, Appresso Francesco di Fran- 
ceschi Senese all' insegna della Pace. 1591. Obi. 8vo, 36 ff., 72 plates. 
Dedicated to "Signor a Lucretia Contarini, per matrimonio Priula Nobile 
G-entildonna Venetiana," by Giovanni Ostaus. A woodcut of Lucretia 
working with her maidens, signed Jose Sol, 1557. Patterns, Small 
Squares, Gorgets, Youth, Paris, Pyramus and Thisbe, Arabesques, Gro- 
tesques, and an Alphabet. Bib. de 1 'Arsenal, Bib. Bodleian. S. K. M. 

623 — Franceschi, Francesco di — La Vera Perfessione del disegno di varie sorti 



BIBLIOGRAPHY 289 

di ricami e di cucire ogni sorte di pimti a fogliarni, punti tagliati, punti a 
fili e rimessi, punti incrotiati, punti a stuora e ogn'altra arte che dia opera 
a disegni, e di nuovo aggiuntoni varie sorti di merli e mostre che al pre- 
sente sono in uso e in pratice. In Venetia appresso Francesco di Fran- 
cesclii Senese all insegna della Pace, 1591. Eeproduit et publie par Arn- 
and-Durand sous la direction de Emmanuel Bocher. Paris, 182 . . . 

624 — France, G~io°. Libro delle mostre da cuser per le donna. Sans date. 16 
gravures sur bois et 8 sur cuivre. II est question de ce recueil dans les 
inscrizioni Venete du chevalier E. Cicogna, tome III, page 443. 

625 — Frano, Gio. — Libro delle mostre da ceuser per le donne. 1596. 16 en- 
gravings on wood and 8 on copper. (Cited by Marquis d'Adda.) 

626 — Franco Giacomo — Nvova inventione De diuerse mostre cosi di punto in aere 
come di Retticelli hoggidi usate per tutte le parte del mondo. Con Mer- 
letti, Mostrette da Colari, e da Maneghi" et merli per cantoni da fazo- 
letti. In Venetia, 1596. Con privilegio. Ce titre est inscrit dans un trait 
carre rectangulaire au-dessous duquel on lit a gauche : Giacomo Franco 
Forma. II est entoure de cuirs enroules, de fleurs, fruits, mascarons, etc. 
Page suivante cotee A. Dedicace : Alia molto Magnifica signora Adriana 
Palma. Verso. Fin de la dedicace signee : Giacomo Franco. 4°. En- 
graved title, 2 pp., 8 engravings and (?) 16 cuts. Sm. obi. This is ap- 
parently No. 62 in Mrs. Palliser's list. The title and six engravings are 
in the Victoria and Albert Museum. 

627 — Franco (Giacomo) — Nuova Inventione de diuerse mostre cosi di punto in 
aere come di Retticelli, etc. Sm. obi. 4to. Venice, 1596. Ongania reproduc- 
tion, 1877. 

628 — Reproduction of this book by Ongania, 1878, at Metro. Mus. 

629— Reproduction of this book by Ongania, 1887. S. K. M. 

630 — Frangois, Rene — Essay des merveilles de natvre et des plvs nobles artifices, 
piece tres necessaire a tous ceux qui font profession d 'eloquence par Rene 
Frangois (Jesuite, nomine Etienne Binet) predicateur du Roi, a Rouen 
chez Romain de Beauvais, pres le grand portail Nostre-Dame et Jean Os- 
mont, MDCXXI (1621). Article sur la broderie, page 532. 

631 — Frauberger, T. — Die Beziehungen der Fransen, der Kniipfarbeit und der 
posamenterie zu der Spitze und ihren Techniken. Kunstgewerbeblatt, 

1893, Leipzig. 

632 — Frauberger, T. — Die "Exposition des Arts de la femme" in Paris. Kunst- 
gewerbeblatt, December, 1892, Leipzig. 
633 — Frauberger, Tina — Handbuch der Spitzenkunde. Leipzig, E. A. Seemann, 

1894. B. M. 

634 — Frechon, Henri — Traite theorique et pratique de travaux a 1 'aiguille: cou- 
ture, lingerie, tricot, crochet, tapisserie, coupe, modes, precis d'histoire 
du costume, repondant aux derniers programmes du travail manuel dans 
l'enseignement. Paris, 1913. Masson et Cie. 

635 — French and Flemish Laces, Special Display of — Bulletin of the Metropoli- 
tan Museum of Art, April, 1917, New York. p. 96. 

636— French, New Art Lace. Craftsman, V. 10, pp. 129-133, April, 1906. 



290 A LACE GUIDE FOR MAKERS AND COLLECTORS 

637 — French Patterns for Crochet and Lace Borders with instructions for work- 
ers, n.p., n.d. 4to. 

638 — French, G. J. — Practical remarks on some of the minor accessories to the 
services of the church, etc. 16mo. Leeds, 1844. S. K. M. 

639 — French, G. J. — The Tippets of the Canons Ecclesiastical. Woodcuts. 8vo. 
London, 1850. S. K. M. 

640 — Frere-Orban — Discours prononce a la Chambre des' Representants. (An- 
nales parlementaires, 1858-59, p. 705.) 

641 — Friend, Margaret Alice — Laces from French Colonies. Vogue, Mar., 1916., 
New York. 

642 — Friling, H. — Nouveaux Documents d'Art decoratif. Serie 1-2. Brussels, 
P. Wytsman, 1898. 

643 — Frilling, H. — See "Dessins Ornementaux" etc. 

644 — Frutti, I. — Opera nuova intitvlata i f rutti de i punti in stuora a fogliami 
nella qvale si ritrova varie et diverse sorte di mostre di punti in stuora, a 
fogliami et punti in gasii et in punti in trezola. Dove ogni bella et virtvosa 
donna potra fare ogni sorte di lauoro cise fazoletti, colari, maneghetti, 
merli, Frisi, Cauezzi, intimelle ouero Forette auertadure da camise, et al- 
tii sorti di lauori, come piu a j)iene potrai vedere, ne mai per l'adietro 
d'alcun altro fatte et post in luce. Opera non men bella che vtile et neces- 
saria a ciascune virtvosa G-entildonna. In Vinegia, MDLXIIII (1564). 
Les mots I. Frutti au haut de la page sont inscrits dans un petit cartouche 
rectangulaire orne de cuirs et de mascarons. Au-dessus des mots : In 
Vinegia un petit nielle grave sur bois. Puis commencent les broderies, 30 
planches composees uniquement de sujets de tapisserie dessines, soit par 
point juxtaposes, soit par points dans des carreaux de papier quadrille. 
8vo, or In-4° oblong. Bibliotheque de L 'Arsenal. 

645 — Furmbiichlein, Ein New — see Model — Biichli. 

646 — Furst, R. H. — Das newe Modelbuch von schonen nadereyen Ladengewurck 
und Faterleins arbeit. Ander Theil. Ce titre est dans un cartouche des 
deux cotes duquel on voit une femme ailee dont le bas du corps se termine 
par des fruits. En bas autour d'une table, une societe de trois femmes et 
de deux homines. A gauche une femme travaillant a un metier sur lequel 
est tendu un reseau. A droite une femme tissant avec un petit metier pose 
sur la table. Au milieu une femme brodant a 1 'aiguille. Les deux hommes 
les considerent. En bas, dans l'interieur du dessin a gauche: L. B. Bener, 
f. a, droite zu finden in Niirnberg. Bey Paulus Fiirsten Kunsth. Gravure 
sur cuivre. Preface. Verso, fin de la preface, se terminant par les mots: 
Eosina Helena Furstinn. Fin de la dedicace par ces mots : Nurnberg den 
20 martii 1666. R.H.F. Au verso, un sonnet. Ensuite les broderies. Les 
pages sont numerotees en haut a droite de 1 a 50. En resume 50 planches 
de broderies et 4 feuillets liminaires. Obi. 4to. Bibliotheque imperiale de 
Berlin. 

647 — Furst (inn), R. H. — Das Neue Modelbuch von Schonen Naderenen Ladenge- 
wurck und Paterlemsarbeit. 46 plates of designs for lace work. Small ob- 
long 4to, full vellum gilt. Nuremberg, 1666. 

648 — Furst, R. H. — Model Buchs, Tritter Theil. Frontispice. Dans un jardin, 



BIBLIOGRAPHY 291 

tme fernnie travaillant au filet sur une table ou se voient differents outils 
employes par les brodeuses. A droite, une colonne autour de laquelle est 
une banderolle sur laquelle on lit : Un bewegt ranicken tragt. En baut 
dans le ciel un ceil d'ou s'echappent des rayons au milieu desquels on lit: 
Der arbeit nutz is Gottes schiitz. En bas sur une banderolle blanclie le titre 
ci-dessus : Model Bucbs. Tritter Theil. Vogeln, Blumen, und Frucbten, 
Wie dieselbige zum Weiss, Nehen, Landengewebe, Creutz und Frantzo- 
sicben sticbe strumpf, gestricke audi Gescbnur Gewirck und gescblinge 
von Faterlein oderandern der gleicben Arbeit, nacb eines jeglichen Belie- 
ben anzuwenden Gezeicbnet und den Jenigens o zu solcber, arbeit lust 
baben, zu dienst ins kupffer versezt. Von und in Verlegung Bosina Helena 
Furstin. Nurnberg zu finden bey Paulus Fursten. Kunst und Buchbandel 
seel Wittib und Erben Gedruckt da selbst bey Cbristian Sigmund Froberg. 
Verso, fin de la dedicace par les mots : Deine in Ebren willige Dienerin. 
E.H.F. (Bosina Helena Furstin.) Nurnberg 10 Winter Monats. Im. 1675. 
Heil Jabre. Puis commencent les broderies numerotees en baut a droit en 
ebiffres arabes. Les plancbes ne sont imprimees qu'au recto seulement. 
Celles numerotees 1, 2, 25, 27, 29, 30, sont de grandes plancbes plusieurs 
f ois ployees sur elles-memes. 43 plancbes de broderies. II y a des editions 
qui portent au bas du titre : Gedruckt bey Christoff. Gerbard in Jabr 1676, 
au lieu de: Gedruckt Daselbst bey Cbristian Sigmund Froberg. 

649 — Fiirst, B. H. — Model-Bucbs; dritter Tbeil. Von unterscbiedlicben Vogeln 
Blumen, und Friicbten, etc., nacb eines jeglicben Belieben amzuwenden. 
4to. obi., engraved title and printed list : 42 wood plates, 4 large. Von und 
in Verlegung Bosina Helena Furtin. Nurnberg, P. Furstin, 1676. S. K. 
M. 

650 — Furst, B. H. — Frontispice. Dans un pare au milieu d'une alle de peupliers, 
au bout de laquelle on voit un palais, une table ronde au second plan devant 
laquelle sont trois femmes travaillant a des ouvrages de broderies. L'une 
a, droite a un petit metier, celle du milieu a un reseau. Au premier plan a 
gaucbe un bomme vetu a la Bomaine, casque en tete, tient d'une main un 
sablier et un eperon. A droite une femme assise dans une grotte et per- 
sonnifiant la paresse. A ses pieds un cocbon ainsi que des debris de me- 
tiers et d'ustensiles servant a Part de la broderie. Page non cotee. Des 
nurnbergiscben model oder nabe Bucbs Wierdtertbeil Vorinnen unter- 
scbiedlicb Model von Gestrick Genab zum abzeblen audi zum abriss 
genab sebr dienlicb zu gebraucben, ingleicben, zu laden: gewurck som- 
mer Gittern und seiden, genab Kreutzstiick in Leinward oder Camfas 
aucb zu Frantzosiscber stuck Fatterleins arbeit in Gescbnur und Geseb- 
ling struinpff und bandscbule zu stricken ungleicber flor genab aucb auf 
Caton und leinwad zu macben zu glatt und erbobenen Caton stucken 
sebr nutzlicb, zu gebraucben. Inventirt una verlegt von Bosina 
Helena Furstin, in Nurnberg und zu finden bey ibr daselbst. Dedicace. 
Verso. Verso fin de la dedicace. Avertissement. Verso. Fin de l'aver- 
tissement. Puis les broderies, numerotees en haut a droite en ebiffres 
arabes. Les pages 1, 2, 15 a, 26, 28, 30 sont de grandes plancbes plusieurs 
fois ployees sur elles-memes. En tout 50 planches et 11 feuillets Limi- 
naires. 



292 A LACE GUIDE FOR MAKERS AND COLLECTORS 

651 Furst E. H. — Das neue Model Buch, zufinden Niirnberg bey Paulus Fur- 

sten Kunstbanal. Erster Theil. Ce titre est inscrit en haut sur une dra- 
perie soutenne par deux petits amours ailes. En bas un interieur dans 
lequel on voit deux femmes a une table. Celle de gauebe travaille a un 
filet, teudu sur un cadre. Celle de droit brode a l'aiguille. A leurs pieds 
un cbien couche au-devant de la table. A droite un ,boninie debout en cos- 
tume Louis XIV. A gauche une femme assise devidant de la laine. Au 
fond deux femmes devidant egalement de la laine. In-4° oblong. Neues 
Modelbucb von Unterschiedlicber art der Blumen und anderer Genehten 
Model, nach itziger Manier, alien Liebbaberinnen. Dieser Kunst Zuinbes- 
ten vorgestellt, zu finden in Niirnberg bey Paulus Fursten Kuust und 
Biicblandern. Seel Wittib. und Erben, 1689. 4 parties en un volume in-4° 
oblong. Dans cette edition I'M du mot Modelbucb est une lettre ornee dans 
un carre ou Ton voit le bouclier de Minerve, surmonte de la chouette sym- 
bolique. Dans d'autres editions sans date, on voit, dans ce petit carre, les 
trois graces enlacees au lieu du bouclier de Minerve, et on lit dans le titre : 
Zu finden in Niirnberg bey Paulus Fursten Kunstbandlern, au lieu de 
Zu finden in Niirnberg bey Paulus Fursten Kunst und bucblandern seel 
Wittib. und. Erben, 1689. Gresprach zwischen Jungfrauen, etc. Dialogue 
en vers entre deux jeunes filles, sur le sujet de travaux a l'aiguille. En- 
suite les broderies. Cliaque page est numerotee en baut a droite en cbiffres 
arabes. Cbaque dessin indique le nombre de lignes dont se compose le 
canevas. Ce sont des planches de tapisserie a points comptes. Les pages 
de 43 a 50 renferment des guipures. En resume 50 planches de broderies et 
10 feuillets liminaires. Cet important recueil de modeles de broderies et 
dentelles a pour auteur Bosina Helene Fiirst parente de l'editeur de Nur- 
emberg. Le nom de Bosina Helene Fiirst se lit a diverses dedicaces qui se 
trouvent dans les feuillets preliminaires des trois demieres parties. Col- 
lation de tout Pouvrage. l re Partie. Frontispice, 3 ff. liminaires et 50 
planches. LP Partie. Frontispice, 3 ff. liminaires et 50 planches. IIP 
Partie. Frontispice, 3 ff . liminaires et 50 planches. IV e Partie. Frontis- 
pice, 10 ff. liminaires et 50 planches. Ensemble 193 planches gravees en 
taille douce et dont plusieurs se deplient. Une edition de ce recueil, aussi 
en 4 parties et avec 193 planches, avait deja ete publiee de 1666 a, 1676. 

652 Furst B. H. — Neues Modelbuch von unterschiedlicber Art der Blumen, und 

anderer genehten Model, nach itziger Manier, Allen Liebbaberinnen dies- 
er Kunst Zumbesten, vorgestellt. Zu finden in Niirnberg, bey Paulus Fiir- 
sten, Kunst und Bucblandern Seel. Wittib und Erben, 1689. 4 parties en 
un vol. in-4 obi. Cet important recueil de modeles de broderies et dentelles 
a pour auteur Rosina-Helene Furst, parente de l'editeur de Nuremberg. 
Le nom de Rosina-Helene Furst se lit a diverses dedicaces qui se trouvent 
dans les ff. prelim, des 3 demieres parties. Collation, I re part, front, grave, 
9 ff. lim. imprimes et 50 pi. — IP part, front., 3 ff. lim. et 50 pi. — IIP part., 
front., 3 ff. lim. et 43 pi.— IV e part., front., 10 ff. lim. et 50 pi. Ensemble 
193 pi. dont plusieurs se deplient, gravees en taille-douce. Une edition de 
ce recueil aussi en 4 parties et avec 193 planches, avait deja ete publiee de 
1666 a 1676. Vente Destailleurs, 1895. 



BIBLIOGRAPHY 293 

653 — Fiirst — Neues Modelbuch, von unterschiedliclier Art der Blumen, und an- 
derer genehten Model, nacli itziger Manier, alien Liebhaberinnen dieser 
Kunst zirm besten, vorgestellet. Niirnberg bey Paulas Fiirsten, 1676- 
1689. 1-3 (olrne den 4.) Teil, mit 150 Tafeln. 

654 — Fiirst — Neues Modelbucli . . . von Eosina Helena Fiirstin (Nurn- 
berg), bey J. C. Weigels Wittib. 1728. 

655 — Fuster, Charles — La Dentelliere de Bruges (Poeine). Paris au " Semeur, " 
1891. 

G 

656 — Gaby, B. — Eeoles dentellieres. La Justice sociale, March 24, 1901, Brus- 
sels. 

657 — Galvin, Nor ah Teresa, at Cork — Col et manche en dentelle. Art applique, 
1 re annee, Paris. 

658— Gandini— Este Family, 1896. 

659 — Garfagnino, Porta — see Salviati, Joseph. 

660 — Gargano, Lucchino — Pretiosa gemma delle virtvose donne, doue si vedono 
bellissimi lauori di punto in aria, reticella, di maglia a piombini, disegnati, 
da Isabella Catanea Parasole e di nuovo, dati in luce da Luccbino Gargano 
con alcuni altri bellissimi lauori Nouamente inuentati. .Stampata in Ven- 
etia ad instantia di Luccbino Gargano MDC (1600). Con Licenza de su- 
periori. Dedicace, Alia illustriss. et eccellentiss, Signora e padrona mia 
osservandiss. la Signora Donna Giromrua Colonna. Puis les broderies des 
feuillets, au nombre de 7. Seeondo Libro della pretiosa Gemma delle virt- 
vose donne, doue con nuova inventione si vedono bellissini lauori di varia 
sorti di nierli grandi e piccioli, punti in aria, punti tagliati, punti a reti- 
cello, e Bosetti diuersi che con laco si usano boggidi per tutta Europa, 
nouamente dato in luce, de Luccbino Gargano. Stampata in Venetia ad 
instantia de Luccbino Gargano. MDCI (1601). Dedicace, Alia Illustriss. 
et excellentiss. Signora e padrone mia oservandiss. la Signora Donna Gir- 
onima Colonna. Puis les broderies. Vente Santarelli. 

661 — Garsault, de — L'Art de la lingerie. Paris, 1871. 

662 — Gatta (Libraria de la.) — Opera nova di recami intitolata le Bicbezze delle 
bellissime et virtuosissime Donne, nella quale si ritrova varie sorti di pun- 
ti tagliati et punti in aiere, dove f acilissimamente & senza fatica alcuna 
ogni virtuosa donna potra lavorare cavezzi di varie sorti. In Venetia V- 
anno M. D. L Villi a la Libraria de la Gatta. Fol. 46 leaves, 3 parts in 1 
vol. 

663— Gaugain, Mrs.— Crochet D'Oyley Book. Nos. 1, 3. 1847. 

664 — Gaugain, J. — The Lady's Assistant for executing useful and fancy De- 
signs in Knitting, Netting, and Croebet Work. Illus. 3 vols, in 4 obi. 16 
mo. Edinburgh, 1844-6. S. K. M. 

665 — Gay, Victor et Dupont-Auberville — Catalogue descriptif des Tissus et 
Broderies exposes au Musee des Arts decoratifs en 1880. Paris, Imp. 
Publications periodiques, 1880. 

666 — Gebhard, E. L. — Samplers of the Other Days. American Homes, V. 10, pp. 
24-5, January, 1913. 



294 A LACE GUIDE FOR MAKERS AND COLLECTORS 

667 — Gedini, Giaeomo — Libro novo, Chiamato Fior di Virtu. Qual insegna a 
cusir a ogni virtuosissima giovine che si diletta a imparare cioe Ponti 
Tagliati, ponti in stuora et ponti crosati et molti altri bellissimi lauori. In 
Venetia appresso Giaeomo Gedini in Frezzaria al segno delta Fede, 
MDLXXXIHT (1584). In-4°. Ce titre est eireonscrit par une composi- 
tion, ou l'on voit en haut un entablement posant sur deux eolonnes sur- 
montees chacune d'une petite figure de femme brodant a 1 'aiguille. Au 
milieu du cbapiteau, un bomme travaillant a un petit metier qu'il tient des 
deux mains appuye sur son genou. En bas de la composition et au-dessous 
du titre deux f emmes travaillant, 1 'une a, droite a un metier de basse lisse, 
l'autre a gauche a un petit metier pose devant elle sur une table. Elle est 
assise de trois quart a droite, En resume, 20 feuillets dont 18 pages de 
broderies. Vente Destailleurs. 

668 — Gehakelte Spitze nacb einer Kloppelspitze. Daheim, Sept. 9, 1893, Leipzig. 

669 — Georgens — Das Flecbtarbeiten. (Plates.) 2nd ed. 4to. Leipzig, 1877. 
S. K. M. 

670— Georgens— Das Hakeln. (Plates.) 2nd ed. 4to. Leipzig, 1877. S. K. M. 

671 — Georgens — Die Kanevas — Stickerei. (Plates.) 2nd ed. 4to. Leipzig, 1877. 
S. K. M. 

672 — Georgens — Kniipfen und Durcbzieben. (Plates.) 2nd ed. 4to. Leipzig, 
1877. S. K. M. 

673 — Georgens, J. D. — Die Linienstickerei. Vorbilder fur den modernen Geb- 
rauch. (Plates.) 2nd ed. 4to. Leipzig, 1877. S. K. M. 

674 — Georgens — Naben und Zuscbneiden. (Plates.) 2nd ed. 4to. Leipzig,1877. 
S. K. M. 

675 — Georgens — Die Plattstickerei. (Plates.) 2nd ed. 4to. Leipzig, 1877. 
S. K. M. 

676 — Georgens, J. D. — Die Scbulen der weiblichen Handarbeit. (Plates) 4to. 
Berlin, 1869. S. K. M. 

677 — Georgens — Das Spitzennahen. (Plates.) 2nd ed. 4to. Leipzig, 1877. 
S. K. M. 

678— Georgens— Das Stricken. (Plates.) 2nd ed. 4to. Leipzig, 1877. S. K. M. 

679 — Georgens — Toilette und Dekoration. (Plates.) 2nd ed. 4to. Leipzig, 1877. 
S. K. M. 

680 — Gerliez, H. de — (Homo & Co.) Laces, etc. p. 17; 13. (Collection of Kur- 
sbeedt Manufacturing Co., N. T.) 

681 — Germany, Industries — Lace makers complain on ground tbat soldiers buy 
Belgian product in preference to tbeirs. N. Y. Times, Apr. 28, 17 :2 ; re- 
port of American Association of Commerce and Trade in Berlin on gen- 
eral economic conditions, May 21, II, 12 :1. 

682 — Germany: Lace Industry. Board of Trade Journal, Aug. 22, 1901, London. 

683— Gbeltof, G. M., Urbani de— I. Merletti a Venezia. Venice, 1876. 

684 — Gheltof, G. M. Urbani de — A technical History of the Manufacture of 
Venetian Laces. Translated by Lady Layard, Venice, F. Ongania, 1882. 

685 — Gbeltof, G. M., Urbani de — Trattato storico tecnico della Fabbrizaacione 
dei Merletti Veneziani. Venice, 1878, 



BIBLIOGRAPHY 295 

686 — Giardinetto miovo di punti tagliati et gropposi per exercitio et ornamento 
delle donne. Venetia 1542. Un volume in-4°. Catalogue Cappi de Bo- 
logne. Bibliographie du marquis d'Adda. Bib. de 1 'Arsenal. 

687 — Gibson, M. — Book of Samplers. Woman's Home Companion, V. 39, p. 78, 
November, 1912. 

688— Gittertyl Filet. Delineator, V. 65, pp. 112-114, January, 1905. 

689 — Givelet, C. — Les Toiles Brodees aneiennes mantes ou courtes-pointes con- 
servees a 1 'hotel Dieu de Beims. 8vo. Reims, 1883. S. K. M. 

690 — Glafey, H. — Die Herstellung der Luftspitzen (Aetzspitzen). Dinglers 
Polytechnisches Journal, June 26, 1891, Stuttgart. 

691 — Grlafey — Herstellung der Spitzen (Hand & Machine). Verhandl. Ver. 
Beford. Gewerbfleisses. Sitzungsb. November, 1915. pp. 119-144. 46 
figs. 

692 — Gliier, Louis — Colored Patterns for Cross Stitch Work. 4 photographs. 
(Collection of Kursheedt Manufacturing Co. New York.) 

693— G. M.— Pour la Dentelle. Le Temps, June 4, 1905, Paris. 

694 — Glen, Jean Baptiste de — Du debuoir des filles, Traicte brief et fort vtile, 
divise en deux parties, la premiere est de la dignite de la femme, de ses bons 
departements et debuoirs, des bonnes parties et qualites requises aux filles 
qui tendent au mariage, 1 'autre traicte de la virginite de son excellence, des 
perfections necessaires a celles qui en font profession, des moyens de la 
conserver et de plusieurs autres choses qui se verront plus a plein au som- 
maire des chapitres, par frere Jean Baptiste de Glen, docteur en Theo- 
logie, de la faculte de Paris et prieur des Augustins lez Liege. Item plu- 
sieurs patrons d'ouvrages pour toutes sortes de lingerie de Jean de Glen 
. . . Le tout dedie a madame Anne de Croy, marquise de Renty . . . 
A Liege, chez Jean de Glen, 1597. Sur ce titre sont gravees les armes 
parlantes de Jean de Glen, trois glands en sautoir surmontes d'une cou- 
ronne de chene. In-4° oblong. Au verso de ce titre sont les armes de Croy. 
Epitre dedicatoire a Haute et puissante dame, madame Anne de Croy. 
Verso. — Fin de l'epitre de dedicatoire signee: Frere Jean Baptiste de 
Glen. — Page non cotee. Du devoir des filles, partie premiere, traictant de 
la dignite de la femme, des bons debvoirs, qvalites, et parties des filles, 
tendantes au mariage. Avertissement aux lecteurs. — S'en suit le som- 
maire des chapitres. Puis 120 pages numerotees en haut au recto et au 
verso en chiffres arabes. Sign. A. P. A la suite 20 planches de broderies 
gravees sur bois en blanc sur forii noir et presque toutes empruntees aux 
ouvrages de Vinciolo, de Vecellio, etc. Nous reproduisons ici une note 
redigee par M. Edouard Rahir, le savant bibliophile, dont l'erudition fait 
loi dans tout ce qui a trait a, la connaissance du livre. Cette note a ete 
redigee pour le catalogue de la vente Destailleurs. "Ainsi que l'annonce 
le titre, l'ouvrage est divise en deux parties distinctes, la premiere pour 
le devoir des filles, la seconde contenant les patrons de lingerie. La pre- 
miere partie divisee en deux livres, se compose de 8 feuillets limi- 
naires dont 1 blanc et 120 feuillets chiffres (sig. A. P). La collation 
de la seconde partie est plus difficile a etablir. M. Brunet, M. de Reif- 
fenberg, et tout recemment M. Van der Haeghen dans la Bibliotheca 



296 A LACE GUIDE FOR MAKERS AND COLLECTORS 

Belgica reelament pour cette partie 6 ff. de texte imprime et 39 de 
planches de broderies. Cette collation ne concorde pas avec 4 e- 
xemplaires de cet ouvrage que nous avons collationnes et qui ne conte- 
naient que 20 planches, sans les f euillets liminaires. Trois de ces exem- 
plaires ont figure aux ventes Libri, Yemenitz (ex. revendu chez Didot et 
Bieswald). Le quatrieme est celui que nous decrivons. Est-ce a dire que 
tous ces exemplaires soient incoinplets; nous ne le croyons pas, d'autant 
plus que trois etaient en ancienne reliure. Nous supposons plutot qu'aux 
exemplaires decrits par MM. Brunet, Beiffenberg et Van der Haaghen, 
etait ajoute un volume separe ayant pour titre: singuliers et nouveaux 
pourtraits pour toutes sortes de lingerie, comprenant 6 ff. et 19 planches. 
Ainsi que l'observait le redacteur du catalogue Libri, les deux ouvrages 
sont tres differents l'un de 1 'autre." L 'explication donne ici par M. 
Bahir est la vraie. II y a deux livres faits par de Glen. L'un n'a que 
19 planches et 1 'autre 20, ce qui fait 39 en les reunissant. Mais ce sont des 
ouvrages parfaitement distincts parus en la meme annee 1597. Nous don- 
nons ci-dessous l'enonce du titre du second. Le marquis d'Adda dans son 
etude sur les livres a dentelles parus en France, en Allemagne et en Flan- 
dre {Gazette des Beaux Arts, 1 novembre, 1864), corrobore 1 'opinion de M. 
Bahir. Vente Yemenitz. Vente Detailleurs, 1895. 

695 — Glen, Jean de — Les singuliers et nouveaux pourtraits, pour toutes sortes 
de lingeries de Jean de Glen, dedies a Madame Loyse de Perez; a, Liege, 
chez Jean de Glen, l'an 1597. Obi., 39 plates, mostly borrowed from Vin- 
ciolo and Vecellio, as well as the title. Bibliotheque Boyale de Bruxelles. 

696 — Godefroid Margaierite, at Beims — Col en dentelle. Mouchoir en dentelle et 
napperon. Art applique, 2e annee, Baris. 

697 — Goldenberg, S. L. — Lace, its Origin and History. New York, Brentano, 
1904. B. M. 

698 — Gorges, Mary — Irish Home Industries, Point J^ace. Chamber's Journal, 
August, 1898, London. 

699— Gorman, A. L.— Teneriffe Lace. Harper's Bazaar, V. 37, pp. 778-779, 862- 
863. August-September, 1903. | 

700 — Gormont — Livre de Moresques, tres utile et necessaire a tous orfevres, 
tailleurs, graveurs, painctres, brodeurs, lingeres, et femmes qui besong- 
nent de l'esguille. Paris, Gormont, 1546. In-folio, avec gravures sur 
bois. 

701— Goubaud, Madame— Book of Guipure d'art. 98 Illus. 4to. Lond. (1869.) 
S. K. M. 

702 — Goubaud, Mme. A. — Book of Guipure d'Art. London, Ward, Lock & 
Tyler, 1870. 

703 — Goubaud, Mme. — Crochet book. London, (1871). 8°. 

704 — Goubaud, Mme. A. — Pillow-lace Patterns, and Instructions in Honiton Lace 
Making. London, 1871. 

705 — Goubaud, Mme. — Point . Lace Book. Instructions and Patterns. Illustra- 
tions. 8 v. Lond. n.d. (1882.) S. K M. 

706 — Government Lace School, France. Craftsman, V. 5, p. 77. 



BIBLIOGEAPHY 297 

707 — Grabowskii, B. B. — Ajour or Toledo Embroidery. Harper's Bazaar, V. 41, 

1241-1243, December, 1907. 
708— Grabowskii, B. B. — Hedebo and Mont Mellick Work Combined. Ladies' 

Home Journal, V. 23, p. 52, January, 1906. 
709 — Grafton, A. B. — Hindoo Laces at St. Louis Fair. Brush and Pencil 15: 

165. 
710 — Grandes Collection de Dentelles Anciennes et Modernes, Les — Album 

with 60 plates. 
711 — Greef, G. de — L'Ouvriere dentelliere en Belgique. 127 pp. Bruxelles, 1888. 

16°. B. M. 
712 — Griffin, L. B. — Norwegian Work on Collars. Harper's Bazaar, V. 38, pp. 

714-716, July, 1904. 
713— Griffin, L. B.— Household Laces. Harper's Bazaar, V. 37, pp. 373-375, 

April, 1903. 
714 — Griffin, L. B. — Practical Lace-Makiug. Harper's Bazaar, V. 35, pp. 659- 

661, November, 1901. 
715 — Griffin, Montagu — Lace-making in Ireland. The Month, March, 1891, Lon- 
don. V. 71, p. 340. 
716 — Groh, St. — Ungar. dekorative Kunst. 110 plates, folio. Budapest, 1907. 

Tafelbezeichngn. in engl., deutsch und ungar. 
717 — Grosch, H. — Gammel norsk vaevekunst i farvetrykte gjengivelser. 20 

plates, $3.20. Albert Bonnier Publishing House. 
718 — Grosch, H. — Norsk Folkeindustri. Broderier. Tidsskrift for Kunstin- 

dustri, 1888, Copenhagen. 
719 — Guichard, Edouard et Darcel A. — Les Tissus anciens reconstitues a, l'Aide 

du Costume, des Miniatures, et de Documents inedits. Paris, 1878. 50 

plates, folio. 
720 — Guillemont, M. — L 'Exposition des Arts de la Femme au Musee des Arts 

Decoratifs. Art et Decoration, 1911, V. 29, pp. 137-156. 
721 — Guillot, Ernest — L'Ornementation des Origines au XVIIIe Siecle. 
722 — Guipure, gravures burin — In the Bib. Imp. (Gravures, L. h. 4. c.) is a vol. 

lettered "Guipure, gravures burin, '^.containing a collection of patterns 

engraved on copper, 43 plates, four of which are double, pasted in the 

book without title or date. Pomegranates, narcissus, lilies, carnations, 

most of them labelled, "Kreutzstick, Frantzosischenstick, and Fadenge- 

wiirck" (thread work), the number of stitches given, with Clocks (Zwick- 

el) of stockings and other patterns. Bien que sous un titre francais, ce 

livre parait etre d'origine allemande. 
723 — Guthrie, J. W. — Lace-making Among the Indians. Outlook, V. 66, pp. 59- 

62, September 1, 1900. 

H 

724 — Haberlandt, Michael — Textile Volkskunst aus Osterichisch. Vienna. J. 

Lowy, 1912. 
725 — Hadley, S. — Bits to Make for Christmas. Ladies' Home Journal, V. 20, 

p. 23, September, 1903. 



298 A LACE GUIDE FOE MAKERS AND COLLECTORS 

726 — Hadley, S. — Edgings and Insertions in Modern Lace. Ladies' Home Jour- 
nal, V. 18, p. 19, July, 1901. 

727 — Hadlev, Sarah — Hardanger Book. (Collection of Kursheedt Mfg. Co., 
N. Y'.) 

728 — Hadley, S. — How to Make Flemish Lace. Ladies' Home Journal, V. 19, 
p. 20, August, 1902. 

729 — Hadley, S. — How to Make Royal Battenberg Lace.' Ladies' Home Journal, 
V. 19, p. 27, October, 1902. 

730 — Hadley, S. — How to Make Russian Lace. Ladies' Home Journal, V. 19, 
p. 22, July, 1902. 

731 — Hadley, Sarah — Irish Lace. D. S. Benett. (Collection of Kursheedt Mfg. 
Co., N. Y.) 

732 — Hadlev, S. — Irish Needle-point Lace. Ladies' Home Journal, V. 23, p. 57, 
June^ 1906. 

733— Hadley, Sarah— The Lace Maker Magazine, Vol. 1-12. D. S. Benett. (Col- 
lection of Kursheedt Manufacturing Co., N. Y.) 

734 — Hadley, S. — Marie Antoinette Lac 3 Work. Ladies' Home Journal, V. 19, 
p. 18, May, 1902. 

735 — Hadley, S. — Needle Honiton Lace. Ladies' Home Journal, V. 19, p. 20, 
September, 1902. 

736 — Hadley, S. — Needle Point Lace. Ladies' Home Journal, V. 19, p. 20, June, 
1902. 

737 — Hadley, S. — New Handkerchiefs in Modern Lace. Ladies' Home Journal, 
V. 18, p. 19, April, 1901. 

738 — Hadley, S. — Using up Old Pieces of Lace. Ladies' Home Journal, V. 25, 
p. 43, November, 1908. 

739 — Haebler, O. — Barbes a la Main. 100 Originalaufnahmen Geschmaeksricht- 
ung des XVIII Jahrhunderts. 40 Tafeln. 1910. 

740 — Haebler, O. — Der Spitzenzeichner. Ca. 200 Originalentwiirfe : Aus der 
Praxis— fur die Praxis. 20 Tafelin. Plauen, 1910 (?). 

741 — Hagen, L. — Zur Entwickelungsgeschichte der Kloppelspitze. Zeitsch. des 
Bayr. Kunst-gew.-Vereins in Miinchen, 1895. 

742 — Hailstone, Lilla — Catalogue of Collection of Lace. London, 1868. 

743 — Hailstone, S. H. Lilla — Designs for Lace Making. 40 tinted plates. Lon- 
don, E. J. Francis, 1870. 

744 — Hailstone, Mrs. S. H. Lilla — Illustrated Catalogue of ancient framed 
Needlework Pictures. London, Baines & Scarsbrook, 1897. 

745— Hairs, Charles— The crochet collar book. London (1846). 8°. 

746 — Hale, Lucretia Peabody — Art Needlework. 

747 — Hale, L. P. — Designs in outline for Art Needlework. Accompanied with 
instructions in drawing, etc., patterns. 8vo. Boston (U. S.) 1879. 

747a-Hale, L. P. — Plain Needlework, Knitting, etc. Plates. 8vo. Boston (U. S.) 
1879. 

748 — Hale, Lucretia Peabody — Point Lace, a Guide to Lace "Work. Boston, S. 
W. Tilton & Co., 1879. 

749— Hall, Herbert J. & Buck, Mertice M. C— Handicrafts for the Handi- 
capped. Moffat, Yard & Co., New York, 1916. 



BIBLIOGRAPHY 299 

750 — Hammett, Lydia C, at Taunton — Den telle de Honiton. Art applique, 2e 

annee, Paris. 
751 — Hammett, Lydia C, at Taunton — Projets de dentelles. Art applique, Ire 

annee, Paris. 
752 — Han, W. and Baben, G. — Modelbuch Neuw allerart Nehens vn Stickens, 

Yetsund wider mit Modlen vnd Stahlen. Allen Steinmetzen, Seidenfrick- 

ern, vnnd Neterin, sehr nutzlich vnnd lustig zu. gericht. Gedruckt zu 

Franckfurt am Mayn durch Weygand Han vnd Georg Raben. 1562. 4°. 

B. K. M. 
753 — Handarbeit — Spitze in Kloppelmanier. Daheim, July 8, 1893, Leipzig. 
754— Handicraft in Massachusetts. Nation, V. 78, pp. 489-490, June 23, 1904. 
755 — Handkerchiefs in Princess Louise Lace. Delineator, V. 64, p. 1012, Decem- 
ber, 1904. 
756 — Hand-made Laces. (1890.) Cited on Bodleian Library Handlist of printed 

books on lace. 
757 — Haner, J. L. K. — In Defence of Samplers. Journal of Home Econ., V. 1, 

pp. 354-355, October, 1909. 
758— Hardanger Lace. Delineator, V. 63, pp. 670-671, 872-873, April-May, 

1904. 
759 — Hardouin, Mme. — Album de Broderie et de Filet. Manufacture Parisienne 

des Cotons L. V. et M. F. A. 
760 — Hardouin, Mme. — Album de Dentelle de Venise. 
761 — Hardouin — Album de Guipure d'Irlande, 4 vols. (Collection of Kur- 

sheedt Mfg. Co., N. Y.) 
762 — Harris, E. — New Duchesse Lace. Ladies' Home Journal, V. 23, p. 70, 

April, 1906. 
763 — Harris, E. — Novel Laces. Harper's Bazaar, V. 38, pp. 69-71, January, 

1904. 
764 — Harris, Wm. Laurel — Laces and their affiliation with architecture. Illus. 

Amer. Architect, New York, 1917. fo V. 112. pp. 363-371. 
765 — Harrison, C. C. — Woman's Handiwork in Modern Homes. Scribners, New 

York, 1882. (Collection of Kursheedt Manufacturing Co.) 
766 — Harth, Mrs. Ernest — English Laces. 
767— Harth, Mrs. Ernest— Irish Laces. The Girl's Own Paper, Aug. 29, 1891, 

London. 
768 — Harth, Mrs. Ernest — Spanish, Greek, Maltese and Polish Laces. The Girl's 

Own Paper, April 4, 1891, London. 
769 — Hartshorne, C. H. — English Medieval Embroidery. (Illus.) 16 mo. 

Lond., 1848. 
770 — Hastings, School of Art — Cat. of Lady Brassey's Loan Exhib. of ancient 

and modern lace, fans, etc. Svo. Hastings (1882). S. K. M. 
771 — Haussmann, Nicolaus — Eyn new Modelbuch auff aussnehen vnd borten 

wircken yn der Laden vn langen gestell, Gemert vnd gebessert mitt. 105. 

andern Modem. N. H. Anno domini 1525. (On back of title-page) : Eyn 

Model Buchleyn darauss leychtlich das gewurck dises nach angezeygten 

Formen, erlernet werden mag. Gedruck. yn der Furstlichen Stadt Zivickau 

durch J org Gastel, 1525. 4°. Title and 16 leaves (incomplete). Said by 



300 A LACE GUIDE FOB MAKERS AND COLLECTORS 

Professor E. Kumseh to be the oldest Pattern-book of needlework known ; 

although obviously a new edition of one still older. Six of the plates are 

copied by Claude Nourry (Lyons, c. 1530). It is described in "Kunst und 

Handwei-k" VI, p. 512, 1903. D. K. S. 
772 — Havard, Henri — Dictionnaire de 1'ameublement. Paris. 
773 — Hawkins, D. W. — Old Point Lace, and how to c,opy and imitate it. 8vo. 

Lond., 1878. S. K. M. 
774 — Head, Mrs. — A Collection of English Samplers. The Connoisseur, March, 

1902, London. 
775 — Head, Mrs. — A Note on Lace Bobbins. Connoisseur, V. 10, pp. 154-156. 
776 — Head, E. H. — Some Notes on Lace Bobbins. The Reliquary, July, 1900, 

London. V. 40, p. 172. 

777 — Heiden, Max — Aus der Spitzensammlung des Kunstgewerbemuseums zu 
Berlin. Kunst gewerbeblatt, 1888, Leipzig. 

778— Helbing, Dr. K— Spitzen-Album. Vienna, v. Waldheim, 1877. 

779 — Helbing, K. — Spitzen Album. 20 blatt Lichdrucke mit 45 Spitzmustern, 
nach den originalen herausgegeben von Dr. K. H. fol. Wien, 1882. 
S. K. M. 

780 — Helmers, R. J. — Model Buck (Neues) (Anderer Theil) von unterschied- 
licher Art von schoen Nadereyen Fadengewiirck und Paterleins-Arbeit. 
Obi. 4to. Niirnberg, 1665. S. K. M. 

781 — Helmin, Fr. Margaretha — Kiinst und fleissiibende Nadel Ergotzungen oder 
Neu er fundenes, Nab und Stick Biich Vorin dem solche schone Wissenchafft 
lieben dem Frauen zimmer allerhand zu vielen sachen an standige muster 
und kisse nach der neuesten Fagon (sic) zu deren nuklichen badienung 
vorges tellt von Fr. Margaretha Helmin zu finden in Nurnberg. Bey. 
Job. Christoph Weigel. In-8 C oblong. Le titre se trouve dans un en- 
tourage compose de roses, de tulipes, de fleurs liees en has par un nceud 
de rubans. Preface de deux pages, terminee par un cul-de-lampe grave 
sur bois. A la fin de cette preface est le chiffre 52, qui est celui du 
nombres des planches de broderies. La premiere est un alphabet a points 
comptes. Des modeles de tapisserie dont une grande planche ployee. Des 
planches pour des petites broderies sur mousseline. Une suite de grandes 
broderies pour soie, satin, modeles de rinceaux, vases, coupes, fruits, mo- 
deles de robes brodees, etc. Gravure sur cuivre, XVII siecle. 

782 — Helmin, F. M. — Continuation der kunst-und fleisz-iibenden Nadel-Ergot- 
zung oder des neu ersonnenen besondern Nehe-Buchs dritter Theil, wor- 
innen fleiszige Liebhaberinnen deeser noting und niitzlichen Wissenchaft, 
ihr knnstliches Nadel-Exercitium, beij unterschiedlich vorfallenden Bel- 
egenheiten zu haben allerhand noch nie vorgekonene Muster zu Deso 
gebrauch, vorlegt und en die Hand gegeben werden von Fr. Margaretha 
Helmin, zu finden in Nurnberg bei Job Christoph Weigel. Niirnburg. No 
date. Oblong fol. Copper plates. V. & A. M. 

783— Hempel— Spitzen und Spitzen-Motive. Plauen, C. Stoll, 1909. 

784 — Henon, Henri — Exposition de Bruxelles, 1897. Rapports du Jury Classe 
154. Rapport de M. Henon. Calais, Impr. des Orphelins, 1897. 



BIBLIOGRAPHY 301 

785 — Henon, Henri — Exposition de 1900 a Paris. Eapports du Jury, Classe 84. 
Eapport de M. H. Henon. Paris, Inipr. Nationale, 1901. 

786 — Henon, Henri — L 'Industrie des Tulles et Dentelles mecaniques dans le De- 
partment du Pas de Calais, 1815-1900. Paris, Belin Frs., 1900. 

787 — Henry, A. — Dentelles a fils tires de Dinant. Annates Soc. archeol. de 
Namur, 1891, Namur. 

788— Hesson, Addie E.— Fancy Work, 1905. 

789 — Hieronimo, da Ciuidal di Frioli, Fra — Trionrpho di lavori a fogiiami di i 
quali si puo far ponti in aere. Opera di Fra Hieronimo da Ciuidal di 
Frioli de l'ordine de i serui de osseruantia. Cum gratia et privilegio per 
anni. XL Ce titre est inscrit sur le bas de la page, entre trois gravures 
sur bois. Celle du haut qui occnpe toute la largeur de la page, repre- 
sente un bas-relief antique. Une femme eouronnee de lauriers, est 
trainee de droite a gauche dans un char attele de deux licornes, et entouree 
de plusieurs femmes portant des couronnes de feuillage a la main. En 
tete du cortege, deux autres femmes, dont l'une joue de la trompette. 
Des deux bois lateraux qui encadrent le titre, Pun celui de gauche rep- 
resente une femme de profil a droite assise et montrant un ouvrage de 
broderie a deux petits enfants debout a ses pieds. L 'autre celui de droite 
represente une femme assise, de profil a gauche, montrant egalement un 
ouvrage de broderie, a, une femme debout a cote d'elle. Dedicace: Alia 
Magnifica et illustra signora, La signora Isabella Contessa Canossa Fra 
Hieronimo da Ciuidal di Frioli. Page non cotee, Alia Medema. Fin au 
verso. Page non cotee, L'autor de l'opera parla. C'est l'avis au lecteur. 
Au verso, une marque d'imprimeur d'un superbe caraetere. Dans un 
cartouche entoure de cuirs enroules, un lion passant de profil a droite, 
debout et tenant de ses deux pattes de devant une epee devant lui. Au- 
dessous du cartouche: In Padoa, per Jacobo Fabriano, ad instantia de 
Fra Hieronimo da Ciuidal di Frioli, de l'ordine de i sevui di Osservantia, 
MDLV (1555). 22 dessins de broderies. En somme 14 feuillets dont 11 
de dessins. Voir le catalogue du Marechal d'Estrees, tome I, n° 8843. 4° 
or 8° oblong. Bibliotheque de L 'Arsenal. Bib Comm. Bologna. 

790— Hill, E.— Abigail's Sampler: poem. St. Nicholas. V. 28, pp. 306-307. 
February, 1901. 

791 — Hind, C. L. — The Progress of the Industrial Arts — Lace. Art Journal, 
1891, pp. 87-92. 

792— Hirth, Geo.— Album for Ladies' Work, 1882. 

793— Histoire de la Dentelle— par M. de— (Fertiault). Paris, Depot Beige, 1843. 

795 — Historische und die neuzeitliche Spitze in Musfer-Beispielen, Die — 24 Ta- 
feln. Plauen, C. Stoll. 1909. 

796— Hoare, Kath. L.— The Art of Tatting. Illus. London, etc 1910. la. 8°. 

797 — Hochfelden, Brigitta — Ebhardt's Handarbeiten, das Kloppeln. 

798 — Hochfelden, Brigitta — Die Handchenspitze. (Point Lace). 

799 — Hoechstaedter, J. N. — Broderie Russe et Hongroise. 

800 — Hoepli, Ulrico — Pizzi antichi di Cesare Vecellio con una introduzione di A. 
Melani. Milan, U. Hoepli, 1886. See 1816. 

801 — Hoffman, Julius — Auswahl von Motiven aus: "Der Moderne Stil." 1906. 



302 A LACE GUIDE FOR MAKERS AND COLLECTORS 

802 — Hofniann, Prof. B. — Moderne Spitzen, entworfen in der Koiiiglichen Kunst- 
schule fiir Textilindustrie in Plauen. Plauen, C. Stoll. 20 plates. 

803 — Hofruan, E. — Muster fiir Textil-Industrie, serie v. Plauen, Chr. Stoll, n.d. 

804 — Hofman, E. — Muster fiir Textil-Industrie, serie ii. Plauen, C. Stoll, n.d. 

805 — Hofman, E. — Spitzen aus deni Museum der Konigl. Kunst-Schule fiir Tex- 
til-Industrie zu Plauen i. V. Plauen, Chr. Stoll, n.d. 

806 — Hofman, E. — Stilisirte Pflauzenforme, etc. . . . serie i, Spitzen. Plauen, 
Chr. Stoll, n.d. 

807 — Hofmann, E. — Weltausstellung, Paris, 1900. Die Vogtlandische Spitzen- 
Stickerei und Gardinen-Industrie. Plauen, C. Stoll, n.d. 

808 — Hoffman, H. — New Modelbiich, alien Nagerin, unnd Sydenstickern selir 
nutzlich zii branche, vor nye in Druck aussgangen durch Hans Hoffman, 
Burger und formsehneider zu Strassburg. At the end, Zu Strassburg 
Gedruckt am Kommarekt durcb Jacob Frolick. 1556. 4to. A to G in 
fours. (28 leaves.) Title printed in red and black. On it a woodcut of 
two women, one engaged in embroidery, the other fringing her some stuff. 
The last leaf (Giiii.) has on the recto a woodcut of a woman at a frame, 
the verso blank. Mr. E. Arnold. 

809 — Hoffman, Wilhelni — Gantzen Modelbuch Kunstlicher und lustiger Bistrung 
und muster & Durch Willhelm Hoffman Formenschneidern. Franc- 
fort. MDCVII (1607.) Ouvrage contenant des modeles d'encognures et 
de frises pour broderies. Dessins blancs sur fond noir. Ces modeles sont 
tres remarquables. En 1876, le musee de Vienne en a reproduit 20 pieces, 
dont 1 serie dans le S. K. M. Voire Guilmard. 

810 — Hoffmann, Wilhelm — Gantz new Modelbuch, Kunstlicher vnd lustiger 
Visirung vnd Muster von allerhand schoner, artiger Zugen vnd Blum- 
werck, zu jetzt gebrauchlichen, zierlichen. Italianischen, Frantzosischen, 
Teutchen vnd Engellandischen Oberschlagen; So wol Sendenstickern, 
Sammetschneiclem, vnd Natherinnen, als auch Schreinern, Bilthauern vnd 
dergleichen so zu solcher Kunstlicher Arbeit lust vnd gef alien tragen, 
furgeriffen vnd fur Augen gestellt Durch Wilhelm Hoffman Formen- 
schneidern. Getruckt zu Franckfurt am Mayn, in Verlegung gemeltes 
Wilhelm Hoffmanns. M. DC. VII. Fol. Title and 18 cuts. (Minister 
reproduction.) 

811 — Hoffman, Wilhelm — Newes vollkomrnenes Modelbuch von vierhundert 
schonen Ausserwehlten, Kiinstlichen vnd aussgeschnittenen, so wol Ital- 
ianischen, Frantzosischen, Niderlandischen, Engellandischen, als Teutschen 
modeln, dergleichen zuvor niemals gesehen worden, zugerichtet, vnd jet- 
zund zum Ersten mal, in dieser bequemlichen Form in Truck gegeben. 
Allen Nahterin, Seidenstickerin, Schreinern, Steinmetzen, auch ziichtigen 
Frawen vnd Jungfrawen, zu Nutz vnd freundlichem Wolgefallen. Get- 
ruckt zu Franckfurt am Mayn, in Verlegung Wilhelm Hoffmanns, Anno 
1604. Fol. Title and 17 cuts. (Wasmuth reproduction.) Eeprinted, 
1878. Also reprinted Berlin, 1871 and 1891. 1891 reprint in B. M. 

812 — -Hoffman, W. — Gantz new Modelbuch, kunstlicher und lustiger Visirung und 
Muster von allerhand schoner, artiger Ziigen und Blumwerck, etc. (19 



BIBLIOGRAPHY 303 

plates, including title.) Obi. fol. Franckfurt am Mayn, W. Hoffman, 1607. 
Reprint, Ongania, Venice, (1878.) S. K. M. 

813 — Hofer, Hans (Brief maler) — New Forinbuechlein der Weyssen Arbeyt. 
Augsburg, 1545. Qner-4. 40 doppelseitig bedruckte Bll. mit 80 Stick- 
mustern. 

814 — Holme, Charles — Peasant Art in Austria and Hungary. The Studio, 1911. 

815 — Holme, Charles — Peasant Art in Russia. Special Number of the Interna- 
tional Studio, 1912. 

816 — Holme, Charles — Peasant Art in Sweden, Lapland and Iceland. The Stu- 
dio, 1910. 

817 — Homann, Elizabeth — Spitzenstudien aus Venedig. Kunstgewerbeblatt, No- 
vember, 1896, Leipzig. 

818 — Honiton Lace — Article from the "Gentleman's Magazine," Jan., 1871. 8vo. 
London, 1871. S. K. M. 

819 — Honiton Lace. Every Saturday. V. 10, p. 275. 

820 — Honiton Lace — The Leisure Hour, August, 1869, London. V. 18, p. 539. 

821 — Honiton Lace — The Gentleman's Magazine, January, 1871, London. 

822 — Honiton Lace — The Saturday Review, Jan. 28, 1888, London. V. 65, p. 101. 

823 — Honiton Lace and the Technical Grant. Saturday Review, December, 1891, 
London. 

824 — Honiton lace book, The: the second and enlarged edition of Honiton lace- 
making. London (1875). 8°. 

825 — Honiton lace-making. London, (1873). 8° 

826 — Hooper, E. M. — Teaching a Child to Sew. Ladies Home Journal. V. 17, 
p. 32, November, 1900. 

827— Hope, Mrs. G. C— Six Square Doyleys in Crochet. (1848.) 

828 — Housiaux, Emile — Une Societe belge-americaine. L 'Industrie dentelliere 
et l'eglise catholique. Le Peuple, Aug. 11, 1903, Brussels. 

829 — How Cushion Lace Was Invented. Chamber's Journal, Nov. 24, 1860, 
London. 

830— How, J. W.— Florentine Bags. Harper's Bazaar. V. 45, p. 423. Sept. 
1911. 

831 — Howarth, M. — How to Care for Real Lace. Harper's Bazaar. V. 46, p. 
639. December, 1912. 

832 — Hrdlicka, J. — Col, eventail, etc. L 'Art decoratif, November, 1901, Paris. 

833— Hrdlicka, J.— Entwiirfe Fur Moderne Spitzen. Stuttgart, 1902. 30 plates. 

834 — H. S., Huquet y Crexells — Pilar. Historia y Technica del Encaje, 172 pp., 
34 plates, Madrid, 1914. 

835 — Hubert, E. — Le voyage de Joseph II dans les Pays-Bas en 1781. 

836 — Hudson (O.) — Report on cotton print works and lace-making. See First 
report of Department of Practical Art, 1853, pp. 367-368. 8vo. Lond., 
1853. 

837 — Huish, Marcus B. — Samplers and Tapestry Embroideries. 2 editions. 
Longmans Green & Co., 1900. 

838 — Hunter, George Leland — Laces, Their Origin, Design and Manufacture. 
Good Furniture, April, 1917. Vol. 8, pp. 199-212. 



304 A LACE GUIDE FOB MAKERS AND COLLECTORS 

839 — Ilg, Albert — Gescb.icb.te und Terminologie der alten Spitzen. Vienna, Leb 
mann and Wentzel, 1876. Contains tbe introduction verbatin of "Pattern- 
book" by "R. M." publisbed by Cbristoff Froscbower, Zuricli. 

840 — Improved state of tbe plan for establishing manufactories of Blond and 
Black silk and tbread Lace, An. No place or date r 

841 — 1 'Industrie de la dentelle en Bobeme. Revue Scientifique, 1903. 

842 — 1 'Industrie dentelliere — La dentelle a la main. Pour eviter sa decbeance. 
Un concours. Bull. Metiers d'art, 1905. Brussels. 

843 — Ingalls, J. F. — Hand book of crocket and knitted lace. J. F. Ingalls, Lynn, 
Mass., 1883. (Collection of Kursbeedt Manufacturing Co.) 

844 — Irish Lace — The Magazine of Art, August, 1883, London. V. 6, p. 438. 

845— Irish Lace. The Spectator. V. 56, p. 864. 

846 — Irish Lace — Report of Committee on Education. London, 1887, fob B. M. 

847 — Irish Lace at the Mansion House — The Saturday Review, July, 1883, Lon- 
don. 

848 — Irish Lace Making — The Saturday Review, July 7, 1888, London. 

849 — Irwin, Elisabeth A. — Lace Makers of the Italian Quarter of New York. 
Craftsman. V. 12, pp. 404-409. 

850 — Italienisches Spitzenmuster aus dem Anfange des XVII. Jahrhunderts. 
Blatter fur Kunstgewerbe, 1877, Vienna. 

851 — I., Jr., W. M. (W. M. Ivins, Jr.) — "Ornament" and the Sources of Design 
in the Decorative Arts. Bulletin of the Metropolitan Museum of Art, 
New York, February, 1918. p. 35. 

852 — Jackson, Mrs. F. Nevill — Cravats. The Connoisseur, August, 1904, Lon- 
don. V. 1, pp. 226-232. 

853 — Jackson, Mrs. F. Nevill — Ecclesiastical Lace, Ancient and Modern. Bur- 
lington Magazine. V. 4, pp. 54-64. 

854 — Jackson, Mrs. F. Nevill — The Evolution of Alengon Lace. Connoisseur, 
1901. V. 1, pp. 219-223. 

855 — Jackson, Mrs. F. Nevill — A History of Hand-made Lace. London, L. Up- 
cott Gill, 1900. B. M. 

856 — Jackson, Mrs. F. Nevill — Human Figures in Lace. Connoisseur. V. 4, pp. 
183-187. 

857 — Jackson, Mrs. F. Nevill — Lace of the Van Dyke Period. Connoisseur. V. 
2, pp. 106-115. 

858— Jackson, Mrs. F. Nevill— On the Wearing of Old Lace. The Lady's Realm, 
August, 1899, London. 

859 — Jackson, Mrs. F. Nevill — The Romance of Lace. The Lady's Realm, Jan- 
uary, 1902, London. 

860 — Jackson, Mrs. F. Nevill — Royal Lace. The Ladies Field, June, 1904, Lon- 
don. 

861 — Jackson, Mrs. F. Nevill — Ruffs. The Connoisseur, July, 1903, London. 



BIBLIOGRAPHY 305 

862 — Jackson, Mrs. F. Nevill — Wedding Veils. The Lady's Realm, June 1899, 
London. 

863 — Jacques, G. M. — Nouvelles dentelles viennoises. L'Art decoratif, May, 
1902, Paris. 

864— Jamnig, C. and Bichter, A. — Die Technik der gekloppelten Spitze. Or- 
iginal Entwiirfe und Ausfiikrungen nack Spitzensorten systematisck 
geordnet, etc. (41 pkoto. plates, with text.) fol. Wien, 1886 or 1885. 
S. K. M. 

865 — Jamnig, Carl and Rickter, Adelaide — Vienna Manual. 

866 — Jannasck, R. — Die Textilindustrie bei den Ur-nnd Natur-volkern. 

867 — Jean le Maistre Tailleur — Eecueil de Plvsievrs pieces de pourtraicture, 
tres vtiles & necessaires generalement a tous Orfeures, Tailleurs, Gra- 
ueurs, Damasquineurs, Sculpteurs, Paintres, Brodeurs, Tapissiers, Tisso- 
tiers, Couturiers, Lingieres, et autres. A Lyon, par lean Le Maistre 
Tailleur, d'kistoires, derneurant en rue merciere et par Antkoine Voulant, 
1565. Sur ce titre un medallion ovale contenant une Minerve, en casque 
et cuirasse, de % a droite, tete de profil de ce cote, une lance a la main, dont 
la pointe s'appuie par terre, au bas du tronc d'un olivier. Un des reje- 
tons de cet olivier s 'enlace autour de la lance de cette deesse. A gaucke 
un dragon fantastique. Sur la bordure du medaillon, qui est partagee en 
six compartiments, on voit un mouton, une brancke d'arbre, une corne 
d'abondance, un paon, deux epees croisees et un serpent. Au milieu de 
la page et coupes en deux par le medaillon, les mots : De grand — Labeur. 
Vient. — Abondance. Bibliotkeque Nationale. 

868 — Jessen, Dr. P. — Das Stickmusterbuck des Andreas Bretsckneider. Kunst- 
geiverbeblatt, 1891, Leipzig. 

869 — Jesurum, Mickel-Angelo — Cenni storicki sull' industria dei Merletti. Ven- 
ice, 1873. 

870 — Jesurum Reproductions — since 1910. In J. P. Morgan Library. 

871 — Jobin, B. — New Kimstlieks Modelbuck, von allerkand artlicken vn gereck- 
ten Modeln auff der Laden zu wircken, oder mit der zopffnot creutz vnd 
Judenstick vnd anderer gewonlicker weifs zu macken : Allen model Wiirck- 
erin, Naderin vnd solcker modelarbeit geflissenen Weibebildern sekr 
dieustlick vnnd zu andern mustern anleytlick vnnd verstandig. Auff ein 
newes weder getriickt vnd mit vielen newer model gemekret. Mit Rom. 
Keys. May. Freykeit. Bey B. Jobin. (Strasburg.) In-4° oblong. 48 
feuillets, le dernier est blanc. Un titre, un feuillet, contenant des vers et 
45 planckes de broderies imprimees au recto seulement. 

872 — Jobin, B. — New Kiinstlicks Modelbuck. Von allerkand artlicken vn'gereck- 
ten modeln, auf der Laden zu wircken, oder mit der Zopffnot, Kreutz vnd 
Judenstick vnd anderer gewonlicker weiss zu macken; Allen Modelwurck- 
erin Raderin vnd solcker Modelarbeyt geflissenen Weibsbildern sekr 
dienstlick vnd zu andern Mustern anleytlick vnd vorstandig. Dissmals 
erstlick gegenwartiger fleissiger gestalltantag geben mit Keys. May. 
Freikeyt. Betj B. Jobin. 1579. 4° 45 cuts. B. K. M. 

873— Jobin, B.— New Kiinstlicks Modelbuck— [Anotker edition of No. 872.] 1589. 
B. K. M. 



306 A LACE GUIDE FOB MAKERS AND COLLECTORS 

874 — Jobiu, B — New Kiinstlichs Modelbuch — [Another edition of No. 872.] Auff 
ein newes wider getruckt vnd mit vielen newer Model geniehret- mit- Rom. 
Keys. May. Preyheit. Bey B. Jobin. 1600. (Strassburg.) 4to. obi. 
45 plates. B. K. M. 

875 — Jobin, Bernhart — New Modelbuch fon Allerhand sonderbarn sehonen mo- 
dem von der ietz gebreuehliehe durch geschnittener arbeit durch h. Vinciolo 
ein venediger angeordnet. Jetzt aber alien Frawen Jungfrawen Naherin- 
nen und dergleiehen Kunstgeflissen en Personen zu sondern vorstand 
auffs new mit vermehrung und besserung viler schoner und lustiger mo- 
dem in truck gefertiget und an tag gebracht. Mit. Bom. Keyserlicher 
Majestat freyheit. Getruckt zu Strasburg bei Bernhart Jobin. Anno 
1592. In-8° oblong. Titre imprime en rouge et noir, au milieu d'un en- 
cadrement forme de modeles de point coupe et de dentelles. Bien au verso. 
): (2 Le verso et le recto de cette page contiennent une dedicace aux fem- 
mes. Des deux cotes de cette dedicace au verso et au recto, deux petits 
nielles verticaux rectangulaires. ) :(3 Planche de broderie. Bibliotheque 
Nationale. 

876 — Jobinus — New Modelbuch von allerhand sonderbarn sehonen modeln von 
jetz gebreuehliehe durch geschnittener arbeit durch h. Vinciolo ein vene- 
diger angeornet. Jetzt aber alien Frawen Jungfrawen naherin vnd der 
gleichen Kunstgeflissenen Personen zu sonderm verstand auffs new mit 
vermehrung vnd besserung viler schoner und lustiger Modeln in Truck 
gefertiget iend an tag gebracht. Mit Rom. Keyserlicher Mayestat frey- 
heit. Getruckt zu Strasburg bey Jobinus Erben, an 1596. In-8° oblong. 
Titre rouge et noir dans un encadrement forme de petits carreaux et 
bandes de guipure. Rien au verso. Page suivante cotee ) :(2. Une piece 
de vers. Verso, fin de la piece de vers. Puis commencent les broderies 
imprimees seulement au recto, sauf aux 6 dernieres planches ou le verso 
en contient aussi. Ces broderies reproduisent presque toutes des motifs 
de Vinciolo. 44 feuillets et 48 planches de broderies. B. M. 

877 — Johnson-Browne, E. F. — On Lace-Making in Belgium. The Catholic World, 
July, 1900, New York. V. 71, pp. 443-459. 

878 — Johnston, Mrs. J. B. — A Short Historical Sketch on Lace. New York, 
1895. 

879 — Jones, O. — Grammar of ornament. (Embroidered and woven fabrics, 
Plates 50, 51, 52 and 55,) 2 vols, fol. Lond., 1856. Other editions. Fol. 
Lond., 1865 and 1868. S. K. M. 

880— Joor, H.— Decoration of Darning. Delineator. V. 79, p. 411, May, 1912. 

881 — Jorsin & Sauvage — Esquisses [Paris, 19. . ?]. 

881a-Jorsin & Sauvage — Formes d 'Orient a, 1 'usage des dessinateurs en broderie 
des fabricants de dentelles et de soieries [Paris, 19. . ?]. 

882 — Jouclard, Mile. A. L., at Paris — Rideau et brise-bise. Art applique, Ire 
annee, Paris. 

883— Jourdain, M.— Alengon. Connoisseur. V. 14, pp. 92-96, 145-148. 

884 — Jourdain, M. — Argentan Lace. Connoisseur. V. 15, pp. 117-122. 

885 — Jourdain, M. — Brussels Lace. Connoisseur. V. 20, pp. 195-201. 



BIBLIOGBAPEY 307 

886 — Jourdain, M. — Cutwork and Punto in Aria. Connoisseur. V 11, pp. 13- 

17, 98-103. 
887 — Jourdain, M. — Drawn Thread Work and Lace. Connoisseur, 1904. V. 10, 

pp. 235-237. 
888 — Jourdain, M. — English. Lace. Connoisseur. V 16, pp. 151-154. 
889 — Jourdain, M. — English Pillow Lace. Connoisseur. V 20, pp. 266-270. 

April, 1908 and following issues. 
890 — Jourdain, M. — English Pillow Lace. Connoisseur. V. 21, pp. 81-86. 
891 — Jourdain, M. — English Pillow Lace. Connoisseur. V. 30, pp. 266-270. 

April, 1908 and following issues. 
892 — Jourdain, M. — Gold and Silver Lace. Connoisseur. V. 17, pp. 9-12, 92- 

96. 
893 — Jourdain, M. — Italian Lace. Art Workers Quarterly. V. 3, No. 11, pp. 

105-109. 
894 — Jourdain, M. — Italian Pillow Lace. Connoisseur, 1906. V. 15, pp. 171-175. 
895 — Jourdain, M. — Lace as worn in England until the Accession of James 1st. 

Burlington Magazine, 1906. V. 10, pp. 162-168. 
896 — Jourdain, M. — The Lace Collection of Mr. Arthur Blackborne. Part I. 

The Burlington Magazine, September, 1904. Part II, Later Punto in 

Aria. The Burlington Magazine, October, 1904, London. 
897 — Jourdain, M. — Lace in the Collection of Mrs. Alfred Morrison at Pouthill. 

Burlington Magazine, 1903. V. 2, pp. 95-103. 
898 — Jourdain, M. — Lace Making in Spain and Portugal. Connoisseur, 1903. V. 

7, pp. 244-247, Part I; V. 8, pp. 9-12. Part II. 
899 — Jourdain, M. — Mechlin and Antwerp Lace. Connoisseur, 1907. V. 19, pp. 

103-108. 
900 — Jourdain, M. — Milanese Lace. Connoisseur. V. 16, pp. 36-41. 
901 — Jourdain, M. — Old Lace, a Hand-Book for Collectors. London, B. T. Bats- 
ford, 1908. B. M. 
902 — Jourdain, M. — Point de Venise a Eeseau. Connoisseur, 1905. V. 13, pp. 

40-43. 
902a — Jourdain, M. — Valenciennes Lace. Connoisseur. V 13, pp. 81-84, 169- 

170. 
903 — Jourdain, M. — Venetian Needlepoint Lace. Connoisseur. V. 12, pp. 145- 

151, 241-246. 
904 — Joyce, T. A. — Central African Embroidery. Burlington Magazine. V. 21, 

pp. 80-91, May, 1912. 
905 — Juillien, Mme. H. H. de — Manuel de dentelles aux Puseaus. Neuchatel, 

Switzerland. 

906 — Kahrn, A. — New Model buch Darinnen zum nehen allerhandt schone newe 
Modelen zu finndenn seinn. Durch Andream Kahrn zu Kuppfer gebracht. 
Anno Doi 1626. Title and 49 engravings, signed A. K. B. K. M. 

907 — Kalesse, E. — Bomische Stickereinen. "Kunst und Gewerbe," Vol. XIX.. 
p. 44. 4to. Nurnberg, 1885. S. K. M. 

908 — Kantwerk uit het laatst der 17e eeuw. Amsterdam, 1877. 



308 A LACE GUIDE FOB MAKERS AND COLLECTORS 

909 — Kantwerksckool on der de Ziuspreuk: "Doet wel en ziet niet om." 

Gevestigd to Sluis, in Zeeland, 5de-9de Verslag (1858-1862). (Middle- 

bourg, J. C. et W. Altorffer.) 
910 — Katalog der in Gerinanischen Museum befindlichen Gewebe und Stickereien, 

etc. Nuremberg, 1869. 20 plates. 
911 — Kaufmann, Hartwig — Battist-Taschentucb mit Nadelspitze ausgefubrt zu 

Scbneeberg. Zeitschr. des Bayr. Kunstgew. Verem in Munchen, 1889. 
912 — Kay, P. — Embroidered Filet Curtains. Harper's Bazaar. V. 40, pp. 561- 

563, June, 1906. 
913 — Kellogg, C. — Artistic Household Needlework. Harper's Bazaar. V. 40, 

pp. 271-273, March, 1906. 
914 — Kellogg, Charlotte — Women of Belgium. Funk & Wagnalls, 1917, New 

York. 
915 — Kendrick, A. F. — English Embroidery. London, G. Newnes, 1904. 
916— Kerzman, M. L.— Drawn work. N. Bristow, N. Y., 1883. (Collection of 

Kursheedt Manufacturing Co., N. Y.) 
917— Kerzman, M. L.— Fine Crochet Work. N. Bristow, 1883. (Collection of 

Kursheedt Manufacturing Co.) 
918— Kerzman, M.L.— How to Crochet. N. Bristow, 1883. (Collection of Kur- 
sheedt Manufacturing Co.) 
919— Kerzman. M. L.— Maltese or Hair-pin Crochet Work. N. Bristow, 1883. 

(Collection of Kursheedt Manufacturing Co.) 
920 — Kerzman, M. L. — Miscellaneous Designs for Crochet Work. N. Bristow, 

1883. (Collection of Kursheedt Manufacturing Co.) 
921— Kerzman, M. L.— Twine Crochet Work. N. Bristow, 1883. (Collection 

of Kursheedt Manufacturing Co.) 
922 — K., F. — Question of Lace Making. International Studio. V. 47, pp. 324- 

326, October, 1912. 
923 — King, Eleanor G., at Bradford — Barbe. Art applique, Ire annee, Paris. 
924 — Kingsley, B. G. — Flemish embroideries, old and new. "The Art Jour." 

1887. S. K. M. 
925 — Kingsley, B. C. — A Lace School at Bruges. Art Journal, 1887, pp. 81-84, 

V. 39. 
926 — Kissell, Mary Lois — Papago and Pima Indians. An account of original 

point lace. Published in pamphlet form by the Museum of Natural His- 
tory, N. Y. 
927 — Kleinpaul, Dr. Job. — Sachsische Relief spitzen-Kloppelei. Illustrirte Zei- 

tung, April 18, 1901, Leipzig. 
928— Klickmann, F.— The Modern Crochet Book. (1914). 
929 — Kloppelei — Daheim, 1895, Leipzig. 
930 — Kloppelspitzen ; hrsg. von der Kgl. Zeichenschule fur Textilindustrie u. 

Gewerbe zu Scbneeberg. Plauen, C. Stoll, 1912 (?). 
931 — Knitter's Note-book. 62 pages. London, 1890. In British Museum. 
932 — Knobe, B. D. — Lace-makers of Belgium. Woman's Home Companion, V. 

31, p. 47, August, 1904. 
933 — Koch, Marie — Hardanger Art Embroidery. (Collection of Kursheedt Man- 
ufacturing Co., N. Y.) 



BIBLIOGRAPHY 309 

934 — Kohlsaat, Amy M. — Old Lace Manual. New York, privately printed, 1910. 

935 — Kossatckewa, 0. P. — Ukrainskie ornament. (Plates.) Fol. Kiejv, 1877. 

936 — Koula, Jan — Clioix de Broderies populaires tcheques dn Musee Industriel 
Naprstek. Prague, F. Simacka, 1893. 

937 — Kraft, Prof. Max — Die neue Kloppelmaschine von Aug. Matitsch. Dingl- 
ers Politechnisches Journal, May 28, 1897, Stuttgart. 

938 — Krai, Joseph — De la dentelle au fuseau en Boheme (en tcheque). Vrych- 
nove, Ck. Bathouskeko, 1894. 

939 — Krame, Mrs. T. — Circular Drawn- work. Ladies Home Journal, V. 23, p. 
58, June, 1906. 

940 — Kretz, Fr. — Kapitola o Krajkarstvi ceskoslovenskem (De la dentelle 
tcheque ou slave). Cesky Lid (Le Peuple tcheque), 1899, Prague. 

941 — Kretz, Franz — Maerish-Slovakische Hauben. Vienna, Ant. Schroll & Co., 
1902. 

942 — Kretz, Franz — Slowakische Netzarbeiten. Zeitschrift fur osterreichische, 
Volkskunde, 1901, Vienna. 

943 — Kreuzmann, Moritz — Dentelles Veritables. Noiweau Choix de Points 
divers. 30 planches. Zurich. 

944 — Kuehn, N. — Colored Patterns for Cross-stitch Work. 9 photographs. (Col- 
lection of Kursheedt Manufacturing Co., N. Y.) 

945— Kuehn, N.— Cross-stitch embroidery book. Vols. 221, 1892, 12. Kuehn, 
Berlin. (Collection of Kursheedt Manufacturing Co.) 

946 — Kumsch, E. — Das alteste aller bekannten Modelbucher. Kunst und Kunst- 
handiverk, N. 12, 1903. Vienna. 

947 — Kumsch, E. — Laces and Embroidery on Linen, 16, 17 and 18 Centuries. 50 
plates. 

948 — Kumsch, E. — Spitzen und Weiss-Stickerei. 50 plates. Stengel & Markert, 
1889. (Collection of Kursheedt Manufacturing Co.) 

949 — Kunig, L. — Fewrnew Modelbuch, Van allerhandt Kunstlicher Arbeidt, nam- 
lich Gestrickt, Aussgezogen, Aussgeschnitten, Gewiesslet, Gestickt, Gew- 
irckt, vnd Geneyt; von Wollen, Gam, Faden, oder Senden; auss der 
Laden, vnd Sonderlich auss der Eamen. Yetzt Erstmals in Teutschlandt 
an Tag gebracht : Zu Ehren vnd Glucklicher zeitvertriebung alien dugenesa- 
men Frawen, vnd Jungfrawen, Natherinen, auch alien andern, so lust zu 
solcher Kunstlicher Arbeit haben, sehr dienstlicht. Getruckt zu Basel, 
In verlegung Ludwig Kunigs. M.D.XCIX. 4°. Title page and 3 cuts (in- 
complete). V. & A. M. 

950 — Kiinig, Ludwig — Fewrnew Modelbuch von allerhandt Kunstlicher Arbeidt, 
namlich Gestricht, Aussgezogen Aussgeschnitten, Gewiefflet, Gesticht, Ge- 
wirckt, und Geneyt : von Wollen, Gam, Faden, oder Seyden : auff der Laden, 
und Sonderlich auff den Eamen, Jetzt Erstmals in Teutschlandt an Tag 
gebracht: Zu Ehren und Glucklicher Zeitvetreibung alien dugentsamen 
Frawen, und Jungfrawen Nacherinen, auch alien andern, so lust zu solcher 
Kunstlicher Arbeit haben sehr dienstlich. Gertruckt zu Basel. In ver- 
legung Ludwig Kunigs MDXCIX. Small obi., 33 ff., 32 plates. Frontis- 
piece border of point coupe. Title in Gothic red and black. Patterns, 



■■UO A LACE GUIDE FOB MAKERS AND COLLECTORS 

mostly borders, number of stitcbes given, "Mit xxxxvii., Bengen," etc In- 

4°. Bib. Nat. 
951 — Kiinig (Konig), Ludwig — Scbon Neues Modelbucb von allerley liistigen 

Modeln naazu neben Zuwureken vn Zusticken gemacht in Jar. Cb. 1599. 

Gemacht zu Basel. In verlegung Ludwig Konigs. Anno MDXCIX 

(1599). In-4° oblong. 36 feuilles imprimes au recto seulement et conte- 

nant 70 modeles de broderies. Sur le titre grave surbois, il y a 7 femmes 

travaillant. 
952 — Kunstgewerbe-Museum zu Leipzig. Egenolff, Cbr. Modelbucb aller Art 

Nebewercks, etc., berausgegeben unter Redaction des Prof. M. zur Stras- 

sen. Dresden, G. Gibbers, 1880. 
953 — Kunstgewerbe-Sehule (Konigl.) zu Dresden. Katalog der Bibliotbek, IX 

Textilarbeiten. Dresden, "W. Hoffman, 1896. 

954 — Lace — 20 photographs. (Collection of Kursheedt Manufacturing Co., 

N. Y.) 
955 — Lace — 25 Photographs. P. Calavas. (Collection of Kursheedt Manufactur- 
ing Co., N.Y.) 
956 — Lace — 35 photographs. P. Calavas. (Collection of Kursheedt Manufactur- 
ing Co., N. Y.) 
957— Lace— Part XII. of "The Industrial Arts." (South Kensington Mus. Art 
Handbooks.) 8vo. Lond., 1876. 

958— Lace. Art Journal, V. 17, p. 86. 

959 — Lace (Filet brode). The Connoisseur, September, 1902, London. 

960 — Lace. Every Saturday, V. 5, p. 729. 

961 — Lace. Knickerbocker, V. 64, p. 127. 

962 — Lace. Leisure Hour. V. 19, p. 388. 

963— Lace. Once a Week, May 9, 1868, London. V. 18, p. 413. 

964 — Lace Ancient and Modern. Victoria, V. 23, p. 145. 

965 — Lace and Bric-a-brac. Blackwood's Edinburgh Magazine, January, 1876, 
Edinburgh, V. 119, p. 59. 

966 — Lace and Embroidery. Saturday Review, V. 66, p. 305. 

:967 — Laces and Embroideries. Gocley, V. 57, p. 155. 

:968 — Lace and Embroidery Association — Appoints committee to keep in touch 
with work of Secretary McAdoo's Commission scheduling St. Gall em- 
broideries. N. Y. Times, May 12, 14 -A. 

'969 — Lace and Embroidery Association tells of concessions made by govern- 
ment in Nottingham cases, N. Y. Times, May 16, 18 :4. 

970 — Lace and Embroidery Review, The — New York, Clifford & Lawton. 

971 — Lace and its Varieties. Chamber's Journal, July 1, 1891. London and 
Edinburgh. V. 68, p. 362. 

972 — Lace and Lacemaking — From Chamber's "Repository of Instructive and 
amusing Tracts." 8vo. (1847) S. K. M. 

,973 — Lace Cap and Slipper Piece for the Baby. Ladies' Home Journal, V. 20, 
p. 42, October, 1903. 



BIBLIOGRAPHY 311 

974 — Lace Collection of Mr. Arthur Blackborne, The — Burlington Magazine, V. 
5, pp. 557-569; V. 6, pp. 18-20, 123-135, 384-390. 

975 — Lace Dress, A — (Eobe Empire en Point de Lille). The Connoisseur, Oc- 
tober, 1902, London. 

976 — Lace Fanciers' Directory. 

977 — Lace — French manufacturers increase prices, N. Y. Times, Nov. 21, III, 8 :3. 

978 — Lace Industry of Calais, The — Journal of the Society of Arts, Oct. 8, 1897, 
London, V. 45, p. 1135. 

979 — Lace in the Tenements — Charities, V. 14, p. 1036. 

980 — Lace Makers — Served out; or The two Lace Makers. By the author of 
"Harvest Time at Agsdon." 32 pages. 1879. In British Museum. 

981 — Lace-making as a Fine Art. The Edinburgh Review, January, 1872, Edin- 
burgh. 

982 — Lace-Making at Nottingham. Eclectic Magazine, V. 99, p. 755. 

983 — Lace Making by North American Indians. American Artist, Vol. 3, No. 
19. 

984 — Lace-Making in Ireland. Saturday Revieiv, V. 66, p. 23. 

985 — Lace Making, Past and Present. The Artist, 1902, London. 

986 — Lace Manufactures at Nottingham. Penny Magazine, V. 12, p. 113. 

987 — Lace Merchant of Namur, a Tale. Blachivoods, V. 44, p. 245. 

988 — Lace of Assam — Journal of the Society of Arts, V. 49, p. 192. 

989 — Laces — Fashion developments, pictures of samples from H. B. Claflin's, 
N. Y. Times, July 5, VIII, 8 :3 ; raise in price due to war, Aug. 6, 13 :3 ; new 
high record in prices, Aug. 26, 11:3; big demand will keep domestic 
plants busy, Sept. 26, 12:3; buyers displeased at false war scare, Sept. 
26, 13:8. 

990 — Lace, Sale of Heirlooms at Woman's Exchange. N. Y. Times, Feb. 7, 5:3. 

991 — Lace — The Case of the Lacemakers in relations to importation of Foreign 
Bone Lace. (Parliamentary Paper). 8vo. Loud., 1898. S. K. M. 

992 — Lace — The Queen Lace Book: a historical and descriptive account of all 
the hand-made antique Laces of all countries. Illus. 4to. Lond., 1874. 
S. K. M. 

993 — Lace Trade and Factory Act. New Quarterly, V. 9, p. 112. 

994 — Lace Trade and Factory Act. Reprinted from the New Quarterly Review, 
revised and enlarged, 3d edition. London, 1860. B. M. 

995 — Lace Trade — Conditions. N. Y. Times, Oct. 10, 15 :4 ; French laces will be 
scarce, due to war, N. Y. Times, Nov. 25, 15 :4. 

996 — Lace Trade — General Purposes Committee, Education Committee, and 
School of Art Committee of Nottingham Corporation confer on need of 
technical training in lace trade on request from Federation of Lace and 
Embroidery Employers' Associations, N. Y. Times, August 12, II, 5 :3. 

997 — Lace Trade — Import statistics, N. Y. Times, Oct. 16, 5 :3. 

998 — Lace Trade — Some manufacturers sell goods by mail, N. Y. Times, May 14, 
I, 11:2; buyers report heavy increases in prices, May 26, 17:6; D. T. Bid- 
well says Italians give America credit for saving industry in Venice from 
annihilation by war, June 21, 9 :2. 



312 A LACE GUIDE FOB MAKERS AND COLLECTORS 

999 — Lace Vestment, Representing Scenes from the Old Testament. Connoisseur, 
Vol. 4, p. 64, 1903. 

1000 — Ladies' Guide to Elegant Lace Patterns. Gloucester, Mass., 1883. 

1001— Lady's Album of Fancy Work. London, 1850. 4to. 

1002— Lady's Lace Book, The— London, Ward, Lock and Co., 1882. 

1003 — Laimoxen, B. — See Sibmacher, J. 

1004 — Laimoxen, B. — Schonn neues Modelbuch von allefley liistigen Modem nac- 
zunehen zu wiirken un zu sticke ; gemacht im Jar Ch. 1597, zu Niirmberg, 
bey Balthaser Laimoxen zu erfragen. Obi. fob, 27 ff. 5 sheets, title-page, 
and poem, signed J. S. (Johann Sibmacher). Mr. Gruner has communi- 
cated to us a work with the same title, dated 1591. Berlin, Royal Lib- 
rary. 

1005 — Laimoscen, Balthasar — Schon newes Modelbuch von allerley liistingen 
Modeln noezunehen zu wiircken vn zu sticke. Gemacht in Jar Chr. 1597. 
Zu Nurmberg bei Balthasar Laimoscen zuer fragen. In-4 C oblong. Edi- 
tion originale de ce beau livre de modeles de broderies est de la plus 
grande rarete. L'exemplaire est complet et consiste en un titre. 4 f euil- 
lets de texte, et 35 planches gravees contenant chacune 2 modeles de brod- 
eries. Mme. Bury-Palliser dans sa bibliographie n'indique que 27 feuillets. 
Suivant elle, il y aurait au Musee des arts et de l'industrie de Dresde, un 
ouvrage allemand portant le meme titre avec la date de 1591. Bibliotheque 
Imperiale de Berlin. 

1006 — Lalande, Pierre — Le Point d'Alengon. Le Monde Moderne, May, 1901, 
Paris. 

1007 — Lalor, Mrs. Power — The Irish Papal Jubilee Lace. The Magazine of Art, 
April, 1888, London, V. 11, p. 200. 

1008 — Lambert, Miss — Church needlework. 8vo. Lond., 1844. 

1009 — Langon, Mile., Inspectrice du Travail a Tunis, Service Economique In- 
digene, Galerie d 'Orleans — Dentelle Tunisienne. 

1010 — Land der Spitzen (Burano), Das — Daheim, Jan. 12, 1889, Leipzig. 

1011 — Lantsheere, Carrier de — Dentellesa la Main — veritables — Points de Prance 
et Venise. Plauen, C. Stoll. 

1012 — Lantsheere, Carlier de — Dentelles a, la Main — Galliera, Paris. Plauen, C. 
Stoll. 

1013 — Lantsheere, Carlier de — Dentelles a la Main, Cluny, Paris. Plauen, C. 
Stoll. 

1014 — Lantsheere, Carlier de — Dentelles a la Main anciennes, du Musee des Arts 
Decoratifs, Paris. Plauen, C. Stoll. 

1015 — Lantsheere, Carlier de — Les Dentelles a la Main. Paris, A. Calavas, 1906. 
B. M. 

1016 — Lantsheere, A. Carlier de — Dentelles a la Main du Musee Historique des 
Tissus de Lyon, 26 Tafeln. Plauen, C. Stoll. 

1017 — Lantsheere, Carlier de — Les dentelles a la main; dentelles aux fuseaux; 
dentelles a l'aiguille ; dentelles a, points melanges. 135 planches. Publie 
sous le patronage du Gouvernement Beige. Brussels, 1907, folio. 

1018 — Lapauze, Henri — L'Art de la Dentelle frangaise. Femina, April 15, 1904. 



BIBLIOGRAPHY 313 

1019 — Lapauze, Henri — Exposition de l'Art de la Dentelle francaise au Musee 
Galliera. Rapport general. Paris, Libr.-impr. Reunies, 1904. 

1020 — Lapauze, Henri — Melanges sur l'Art francais. L'Art de la Dentelle fran- 
chise. Paris, Hacliette et Cie., 1905. 

1021 — Laprade, Laurence de — A propos d'une Nappe de Dentelle. Art et Dec- 
oration, 1912, V. 32, pp. 47-50. 

1022 — Laprade, Laurence de — La dentelle a la Main — la Broderie ajouree, la 
Guipure, au Musee Galliera, Paris, 1904. 

1023 — Laprade, Laurence de — Dessins de Filet Modern. Art et Decoration, 
1912, V. 31, pp. 59-68. 

1024 — Laprade, Mme. L. de — Le Point de France et les Centres dentelliers au 
17e et 18e Siecles. Paris, Rothschild, 1905. B. M. 

1025 — Laprade, Laurence de — Le Point de Venise. Art et Decoration, 1912, 
Vol. 31, pp. 159-164. 

1026 — La Salle, Philippe de — Musee historique des tissus de Lyon. Calavas, 
Paris, 1906. 35 pages. (Collection of Kursheedt Manufacturing Co., 
N. Y.) 

1027 — Latomus, S. — Schon newes Modelbuch von 500 schtinen aussor wahlten, 
Kunstlichen, so wol Italiahnischen, Frantzosischen, Niederlandischen, 
Engellandischen, als Teutschen Modern, Allen, Naher . . . hstichern, 
&c, zu nutz. At the foot of last page recto is, "Franckfurt am Mayn, bey 
Sigismund Latomus, 1605." Small obi. 100 plates and coloured title-page 
with figures. 

1028 — Latomus, S. — Schon newes Modelbuch, Von hundert vnd achtzig schonen 
kunstreichen vnd gerechten Mode in, Teutsche vnd Welsche, welche auff 
mancherley Art Konnen geneet werden, als mit Zopffnath, Creutz vnnd 
Judenstich, auch auff Laden zu wireken : Dessgieichen von ausserlesenen 
Zinnigen oder Spitzen. Frandfurt a M., 1605. 

1029 — Latomus, S. — Schon newes Modelbuch Von 500 schonen ausserwehlten 
Kunstlichen so wol Italianisch en Franzosischen, Niderlandischen, Engel- 
landischen als Teutchen Modeln, Allen Naherin Seydenstrickern, etc., zu 
nutz. Getruckt zu Franchfort am Meyn durch Sigismundum Latomum, 
Im Jahr 1606. 8°. (Sheet K missing.) B. K. M. Bibliotheque Nation- 
ale. Nuremberg, German Museum. 

1030 — Latomus, S. — Schon newes Modelbuch, Von hundert vnd achtzig schonen 
kunstreichen vnd gerechten Modeln, Teutsche vnd Welsche, welche auff 
mancherley Art konnen geneet werden, als mit Zopffnath, Creutz vnnd 
Judenstich, audi auff Laden zu wireken : Dessgieichen von ausserlesenen 
Zinnigen oder Spitzen. Allen Seydenstickern, Modelwirckerin, Naderin, 
vnd soldier Arbeitgefhssenen "Wei bsbildern sehr dienstlich, vnd zu andern 
Mustern anleytlich vnd verstendig. Franckfurt am Mayn, in Verlegung 
Sigismundi Latomi. M.DCVII. (1607.) Small 4to obi. 180 patterns. On 
the title-page are two ladies, one working at a pillow, the other at a 
frame; in the back-ground, other women employed at various works. 
Another copy dated 1629. Stockholm Royal Library. 

1031 — Latomus, Sigismund — Schon newes Modelbuch von 500 schonen aus ser 
wechlten Kiinstlicher so wol Italianischen, Frantzosichen Nider landisch- 



314 A LACE GUIDE FOR MAKERS AND COLLECTORS 

en, Engellandischen, als Teutsclien inodein alien natherin seydenstickern 
et zu nutz. Getrueht zu Francfort em Mayn durch Sigismundum Lato- 
mus. Im Jahr 1608. Titre moitie rouge, moitie noir inscrit dans un enca- 
drement orne de volutes et de fruits. Les mots Sclion newes Modelbuch, 
sont en haut de l'encadrement au milieu dans un cartouche. En bas a 
gauche une femme tenant un miroir. Au-dessus de sa tete une etoile lu- 
mineuse avec le mot visus. A droit une femme tenant un oiseau sur le 
poing,avec au-dessus de sa tete une toile d'araignee, et le mot Tactus. 
En bas au milieu, dans un cartouche ovale, un homme a gauche assis de 
profil a droit et travaillant a un metier. A droite deux femmes assises, 
un metier sur leurs genoux. Au fond d'autres ouvrieres. Au premier 
plan un chat. En tout 96 pages dont un titre et 95 planches de broderies, 
imprimees au recto seulement. II y a une edition de 1605, au musee alle- 
mand de Nuremberg et une de 1607, contenant 180 patrons a la Biblio- 
theque Royale de Stockholm. Bibliographie de Mme. Bury-Palliser. Bib- 
liotheque Nationale. 

1032 — Latomus, Sigismund — Schon newes Modelbuch, Von Zwey hundert vnd 
Achtzig . . . Modeln. Getruckt zu Franckfurt am Mayn bey Sigismundi 
Latomi S. Erben. M.D.CXXIX. (1629.) 4°. Title and 58 cuts. B.K.M. 

1033 — Lavington, Clara, at Leeds — Dessin pour eventail en dentelle. Art ap- 
plique, Ire annee, Paris. 

1034 — Lawrence, Ellen — Priscilla Bobbin Lace Book. The Priscilla Publishing 
Co., Boston. 

1035 — Lay, P. and Fischbach, F. — Siidslavische ornamente, gesammelt und 
herausgegeben von P. L. 4to. Hanau am Main. n.d. S. K. M. 

1036 — Le Breton, G. — Les Dentelles anciennes, etc. In 1 'Union centrale des 
Arts decoratifs: Les Arts du Bois, etc.. pp. 199-219. (Illus.) 4to. Paris, 
1883. S. K. M. 

1037 — Le Breton, Gaston — La Tissuterie ancienne. Les Dentelles et les toiles 
peintes et imprimees a 1 'Exposition de 1 'Union centrale. Gazette des Beaux- 
Arts, 1883, Paris. 

1038 — Lefebure, Auguste — L'Art dans le dessin et la fabrication de la Dentelle. 
(Album de la Dentelle. Exposition Internationale de Liege, 1905. 
Numero special de La Dentelle, 1905.) 

1039 — Lefebure, A. — Dentelles et guipures anciennes et modernes. Paris, 1904. 
B. M. 

1040 — Lefebure, Ernest — Broderie et Dentelle. Paris, Picard et Kaan. 

1041 — Lefebure, Ernest — Broderies et Dentelles. Paris, 1887, 1 vol., 8vo, paper 
covers. B. M. 

1042 — Lefebure, Ernest — Dentelles a P Exposition Universelle Internationale de 
1900 a Paris. Paris, 1900. 

1043 — Lefebure, Ernest — L'echarpe en blonde polychrome offerte a, l'imperatrice 
de Russie. Revue des Arts decoratifs, 1900, Paris. 

1044 — Lefebure, Ernest — Embroidery and Lace ; their Manufacture and History 
from the remotest antiquity to the present day. Translated by Alan S. 
Cole. London, H. Grevel & Co., 1888. B. M. 



BIBLIOGRAPHY 315 

1045 — Lefebure, Ernest — Exposition de 1889, a Paris. Eapports du Jury In- 
ternational. Glasse 34. Rapport de M. Ernest Lefebure. Paris, Impr. 
nationale, 1891. 

1046 — Lefebure, Ernest — Les Points de France. Translated by Margaret T. 
Johnston. New York, 1912. 

1047 — Lefebure Laboulaye (C. P.) — Dictionaire des Arts et Manufactures, etc. 
(Broderie et Dentelle, Vol. I.) Plates, 3 vols. 8vo. Paris, 1852-61. 
S. K. M. 

1048 — Leftwich, Arabel — Point Lace. The Lady's Realm, January, 1897, Lon- 
don. 

1049— Leland, C. G.— Art Work Leaflets. No. 4. Art Work on Linen. 4to. 
N. Y. 1881-82. S. K. M. 

1050 — Lemaire, Gustave — Exposition de Liege en 1905. Comite Special de la 
Dentelle. Discours prononce a la seance d 'installation, le 18 mai, 1904. 
Brussels. 

1051 — Lemaire, Henri — La Dentelle. Paris, 1902. About 1500 designs in all. 

1052 — Lemaire, Henri — Dentelles inedites. Dessins nonveaux. (Paris, Rou- 
veyre.) 

1053 — Lemaire, Henri (dessinateur) — Documents et Modeles utilisables dans 
toutes les industries d'Art. L 'Industrie dentelliere. Recueil de 1600 
documents. Publies en 130 Planches. Reproductions de dentelle veritable 
depuis le XVe siecle jusqu'a 1904, et Esquisses originates pour dentelle 
mecanique. Paris, Ed. Rouveyre, n. d. 

1054 — Lemaire, Henri — La fleur appliquee a l'industrie des Tulles etc. (Paris, 
Rouveyre.) 

1056 — Lemaire, Henri — Motifs varies pour Rideaux, Broderies, Dentelles, etc. 
(Paris, Rouveyre.) 

1057 — Leneveux, Mme. Louise — Histoire de la Dentelle. Journal des Demoi- 
selles, 1846, Brussels. 

1058 — Le Roy de Sainte-Croix, Dr. — Parement d'Autel ancien en Dentelle et 
Broderie appartenant a Mrs. Hailstone, etc. Paris, Em. Leroux, 1874. 

1059 — Lescure, A. — Collection A. Lescure — Gestickte Koragen mitte des 19. Jahr- 
hunderts. Plauen, C. F. Schulz & Co., 1910. 

1060 — Leslie, Marion — A Spinning and Weaving School. The Lady's Realm, 
September, 1899, London. 

1061 — Lessing (J.) — Muster altdeutscher Leinenstickerei. 4 parts. (44 plates 
of designs for needlework, including alphabets.) 4to. Berlin, 1878-82. 
S. K. M. 

1062 — Lessing, Julius — Muster altdeutscher Leinenstickerei. Erste und zweite 
Sammlung, Berlin, Fr. Lipperheide, 1897. 

1063— Lesson in Darning Filet Net. Craftsman, V. 23, pp. 356-359, Dec, 1912. 

1064 — Levetus, A. S. — Austrian Peasant Lace. International Studio, V. 27, pp. 
209-218. 

1065 — Levetus, A. S. — The Revival of Lace Making in Hungary. International 
Studio, 1910, V. 42, pp. 30-35. 

1066 — Levetus, A. S. — Some Modern Austrian Pillow and Point Lace. Interna- 
tional Studio, V. 18, pp. 163-173. 



316 A LACE GUIDE FOR MAKERS AND COLLECTORS 

1067 — Levetus, A. S. — Some Modern Austrian Pillow and Point Lace. The 

Studio, 1905, London. 
1068 — Levetus, A. S. — The State Schools for Lace-Making in Austria. The 

Studio, 1905, London. 
1069 — Levetus, A. S. — State Schools of Lace-Making - in Austria. International 

Studio, 1905, V. 27, pp. 19-30. 
1070 — Librairie des Arts Decoratifs — Choix de Dentelles (Part of the Lyon's 

Collection: points d'Alenc.on, de Valenciennes, de Malines, de Bruxelles, 

etc.) 26 plates, Paris. 
1071 — Lichtwark, Alfred — Heinrich Steyner's Modelbuch. Kunstgewerbeblatt 

1887, Leipzig. 
1072 — Liedts — Anciennes dentelles beiges formant la collection de Feu Madame 

Augusta Baronne Liedts et donnee an Musee de Gruuthuus a, Bruges. 

Publie en 1889. Un volume in folio de 185 superbes planches en photo- 

typie, le portrait de la donatrice et les tables. Ouvrage capital sur les an- 
ciennes dentelles beiges qui ne fut pas mis dans le commerce et qui ne fut 

tire qu' a, 75 exemplaires. 
1073 — Liedts, Baron — Catalogue du Musee Gruuthuuse a, Bruges. Bruges, 1880. 
1074 — Liege, Exposition de — Les Dentelles de Belgique. Paris, 1905. B. M. 
1075— Lindsey, B.— Irish Lace. 33 pp. Dublin, 1886. 8vo. B. M. 
1076 — Lipperheide, Frieda — Hausliche Kunst. Berlin, Fr. Lipperheide, 1891- 

93. 
1077 — Lipperheide, Frieda — Muster altitalienischer Leinenstickerei. Erste und 

zweite Sammlung. Berlin, Fr. Lipperheide, 1883-1892. 
1078 — Lipperheide, F. — Old Italian Patterns for Linen Cross-stitch Work. 30 

plates. Ber. Lipperheide, 1882. (Collection of Kursheedt Manufacturing 

Co., N. T.) 
1079 — Lipperheide, Frieda — Das Spitzenkloppeln. Berlin, Fr. Lipperheide, 

1898. 
1080 — 'List of Books on Lace and Needlework in the National Art Library, A — 

(South Kensington Museum). London, Geo. E. Eyre & W. Spottiswoode, 

1879. 
1081 — List of Books and Pamphlets in the National Art Library, South Kensing- 
ton Museum, A — Part II. Lace and Needlework. London, Eyre & Spot- 

tiswoode, n.d. 
1082 — Liste des Linges et des Ornaments precieux d'eglise, dont on peut faire 

1 'acquisition, etc. (vente en Belgique a, la suite de la suppression des 

couvents, 1775.) n.p. n.d. 
1083— Little Lace Girl, The— By the author of "The Conceited Pig." London, 

1848. In British Museum. 
1084 — Livre de figures ponctuees contenant plusieurs dessins pour apprendre a 

marquer le linge, a, faire de la broderie et de la tapisserie. In-4° de 40 ff. 

Les rectos sont des planches gravees. Manuel du Libraire de Brunet. 

Vente Lavalliere. Vente Mac-Carthy. 
1085 — Lockwood, M. S. — Lace Dreams in Woven Thread. Cosmopolitan, V. 20, 

p. 177. 



BIBLIOGRAPHY 317 

1086 — Lockwood, M. S. and Glaiser, E. — Art Embroidery; a treatise on the 

revived practice of Decorative Needlework, 19 col. plates. 4to. Lond., 

1878. 
1087 — Lodian, L. — Virgin Lace (lace-bark) of the Tropics. Scientific American, 

V. 92, p. 304, April 29, 1905. 
1088 — Loeben, Max Greorg von — Der Absatz der Plauener Spitzen nach den Ver- 

einigten Staaten von Nord-Amerika. Dresden, V. V. Bokmert, 1905. 
1089— London Exhibition, 1851; Eeports of the Juries, Class XIX, Tapestry, 

Lace and Embroidery, etc. pp. 460-476. London, 1852. 
1090— London Exhibition Eeports— French. Vol. V. Dentelles, Tulles et Bro- 

deries, par F. Aubrey. 8 vols. 8vo. Paris, 1854-60. 
1091— London Exhibition, 1862; Eeports of the Juries, Class XXIV. Tapestry, 

Lace and Embroidery. London, 1863. 
1092 — London Exhibition — France: Commission Superieure. Rapports. (Den- 
telles et Broderies, p. 73.) 8vo. Paris, 1872. 
1093— London Exhibition— Reports. Division II., Part IX. Needlework in 

Schools. 4to. Lond., 1871. 
1094 — London Exhibition— Reports. French. Dentelles, Broderie, Passemen- 

tes et Tapisserie, Vol. V, p. 201. 7 vols. 8vo. Paris, 1862-64. 
1095— London Exhibition, 1871— Reports. Fine Art Div'n. Part IV. Lace; 

Embroidery, etc. 4to. Lond., 1871. 
1096 — Loon, Ernest van — De Kantindustrie in Frankrijen Italie. 'S. Gfraven- 

hage, 1907. 
1097 — Lord, K. — Honiton and the Revival of Lace-making in Devon. Crafts- 
man, V. 17, pp. 444-451, January, 1910. 
1098 — Lord, Katherine — How to make Irish Laces at Home. Craftsman, 1910, 

V. 18, pp. 492-496. 
1099 — Lord, Katherine — A Lesson in Making Filet Lace. Craftsman, 1909, V. 

17, pp. 208-214. November. 
1100 — Lord, Katherine — Real Lace. The Delineator, June, 1917, New York. V. 

90, pp. 32-3. 
1101 — Loubier, Jean — Ein Venezianisches Modelbuch von Jahre, 1559. Z. und 

sch. f. Biicherfreunde, V. 1, pp. 85-91. 
1102 — Louvre, Musee des Arts Decoratif s. Les Dentelles anciennes du Musee. 

1906. fol. 
1103 — Lovett, Eva — An Italian Lace School in New York. New York, 1906. In- 
ternational Studio, V. 29, pp. 12-19, July. 
1104 — Lovett, Eva — The Lace Collection of the Metropolitan Museum of Art. 

International Studio, 1906. V. 29, pp. 71-76, 80-85. Brush and Pencil. 

V. 18, p. 10. 
1105 — Lovett, Eva — Lace and Lace-Making at Pratt Institute. International 

Studio, New York, 1907. V. 32, pp. 58-61. August. 
1106 — Lowe, Gr. A. — Filet Lace-making at Home. Harper's Bazaar. V. 43, pp. 

280-281, March, 1909. 
1107 — Lowe, G-. A. — Simple Cut-work Designs. Harper's Bazaar. V. 43, pp. 

507-509, May, 1909. 



:J18 A LACE GUIDE FOR MAKERS AND COLLECTORS 

1108 — Lowes, Mrs. Emily L. — Chats on Old Lace and Needlework. London, 
T. F. Unwin, 190S. B. M. 

1109 — Lucretia Roinana — Corona delle nobili et virtuose donne. Libro terzo. 
Nel quale si dimostra iu varii dissegni tutte le sorti di Mostre di punti 
tagliati e punti in aria, punti Fiamenghi, punti a Retcello, e d' ogn' altra 
sorte, Cosi per Fregi, per merli e Eosette, die con Aco si viano lioggidi 
per lutta l'Europa. E molte delle quali Mosti 4 e porsono Serviri ancora 
per opera a Mozzete. Con le dichiarationi a le Mostre a' Lavori fatti da 
Lugretia Romana. In Venetia, appresso Allessandro de Vecclii, 1620. 27 
ff., obi. 8vo. V. & A. M. 

1110 — Lucretia Romana — Corona delle Nobili et Virtuose Donne, Libro primo, 
nel quale si dimostra in varij Dissegni tutte le sorti di Mostre di punti tag- 
liati, punti in Aria, punti Fiamenghi, punti a reticello, e d' ogni altre sorte, 
cosi per Freggi, per Merli, e Rosette, die con 1' Aco si usano per tutta 
l'Europa. E Molte delle quali Mostre possono servire ancora per opere 
a Mazzete. Con le dicbiarazioni a le Mostre, a Lavori fatti da Lugretia 
Romana. In Venetia appresso Alessandro de Vecchi MDCXXV. Si ven- 
dono in Venetia al Ponte de' Baretteri alia libreria delle tre Rose. Lady 
Wilton in her Art of Needlework, quotes a copy dated 1620. Obi. 4to, ff. 
27. Vienna, Imperial Library. 
See "Corona" of Vecellio of 1844. 

1111 — Lucretia Romana — Ornamento nobile per ogni gentil matrona. Dove si 
contiene Bavari, Frisi, d'infinita bellezza, Lavori per linzuoli, Traverse e 
Facuoli, Piena di Figure, Ninfe, satiri, Grotesche, Fontane, musiche, Cac- 
cie di Cervi, ucelli et altri animali. Con ponti in aria fiamenghi et tagliati 
con adornamenti bellissimi, da imparare per ogni virtuosa Donna che se 
diletta di perf ettamente cucire. Opera per Pittori, scultori et Disegnatori 
giovevoli alle lor profession lavori. Fatta da Lucretia Romana, il quinto 
volume di suei lavori. Dedicato alle virtuose donne. In Venetia, ap- 
presso Lessandro (sic) de Vecchi, MDCXX (1620). In-folio. 4°. Au- 
dessous des mots, virtuose donne, une gravure sur bois, entouree des qua- 
tre cotes par des bandes rectangulaires renfermant des petits motifs de 
broderies. Dans l'interieur de ces bandes une femme vetue a l'antique, 
debout sur une tortue, symbole de la bonne menagere et tenant a la main 
une pelote de fil. A gauche deux femmes qui brodent, a droite un sculp- 
teur qui termine une statue de Minerve. Rien au verso. Page suivante 
au-dessus de la broderie que contient cette page, on lit dans une tablette 
rectangulaire : Ornamento delle donne di, singolar bellezza, che in tutta 
Europa, si osserva, di far in varie foggie. Con altri cinque libri fatti da 
Lucretia Romana, Opera vtile a Pitori, scultori, & disegnatori, piena di 
animal, bellissimi, vasi, fontane, caccie, musica & fiori di varie sorti, & di 
diuerse compartimenti bellissimi. Le volume se compose de 20 feuillets 
chiffres, les 10 premiers signes A. A10. Le premier feuillet comprend le 
titre, orne d'une figure sur bois encadree de dentelles et les 19 autres con- 
tiennent 20 beaux modeles de dentelles gravees sur bois sur fond noir et im- 
primes sur le recto de chaque feuille dont le verso est blanc, sauf les deux 
derniers qui occupent le recto et le verso du 20° feuillet. 20 cuts. Vente 



BIBLIOGRAPHY 319 

Benedetto Maglione, Paris, 1894. The bavari are executed in three dif- 
ferent stitches: punto d' aieri, p. flamingo, and p. tagliato. This author 
and Vecellio give Flemish patterns (punti Fiamenghi). They consist 
mostly of rosettes and stars (gotieo). Brussels, Bib. Eoyale. 
1112 — Lucretia Eomana — Ornamenti nobili per ogni gentil matrona dove si con- 
tiene vavari. Venice, 1876, reprinted by Ongania from the edition of 1620. 
Metro. Mus. 

M 

1113— M., F.— See Metropolitan Museum. 

1114— M., B.— see S., E. M. 

1115 — Macrame Lace, a knotted Trimming, etc. By the Silk worm (the Silk- 
worm Series). 8vo. Lond, (1875). S. K. M. 

1116 — Macrame lace book, The : containing full and clear instructions for mak- 
ing this handsome and useful trimming. London. (1877). 8°. 

1117 — Madritum — Eeglamento para la escuela de encajes en Madrid. Madrid, 
1784. 8°. 

1118 — Mahaffy, Amada — Priscilla Drawn-AVork Book. 

1119 — Making of Bobbin-lace, The — Illus. Decorative Furniture. New York, 
1916. 4°. V. 30, No. 1, p. 47. 

1120 — Making of Lace. Dublin University. V. 54, p. 678. 

1121 — Making of Lace. Eclectic Review. V. 135, p. 37. 

1122— Making of Lace. Galaxy. V. 6, p. 118. 

1123— Making of Lace. Gocley. V. 51, pp. 330 and 365; 545 and 566; 337. 

1124 — Making of Lace. Living Age, 112:541. 

1125 — Making of Lace. Penny Magazine. V. 9, p. 186. 

1126— Making of Lace. Practical Magazine. V. 4, p. 204. 

1127 — Mali, Marie — La Dentelle americaine. La Reforme, April 4, 1899, Brus- 
sels. 

1128 — Mali, Marie — La Dentelle beige. L'Art moderne, Jan. 8, 1899, Brussels. 

1129— Mali, Marie— La Dentelle beige. La Reforme, Dec. 22, 1898, Brussels. 

1130 — Malines — Photographs of lace, etc. exhibited at l'Institut des Beaux Arts, 
1872. S. K. M. 

1131— Manley, L.— Lace Work. Harper's Bazaar. V. 42, pp. 1134-1135, Nov. 
1908. 

1132 — Manning, A. E. — Tempting Bits of Cross-stitch. Good Housekeeping. V. 
53, pp. 279-281, August, 1911. 

1133 — Manteuffel, E. von — Album altdeutscher Leinenstickerei. 50 plates. 8vo. 
Harburg, a.d. Elbe, 1883. S. K. M. 

1134 — Manteuffel, Erna von— Filet— Guipure— Album. Harburg a/Elbe, Q. El- 
kan, n.d. 60 plates. 

1135 — Marez, G~. des — Les Dentelles de N.D. des Sept. Douleurs a l'Egliee des 
Eichesclaires a Bruxelles. Brussels. 

1136 — Marguet, A. and Dauphinot, A. — Tresor de la Cathedrale de Eeims. 
(Eccle. Lace and Embroidery.) 4to Paris. 1867. S. K. M. 

1137 — Marie Antoinette Shawl. International Studio. V. 32, sup. 61-63, Ausj. 
1907. 



320 A LACE GUIDE FOB MAKERS AND COLLECTORS 

1138 — -Manage, J. B. — Societe d 'agriculture, des sciences et des arts de l'arron- 
dissement de Valenciennes. 

1139 — Marriott, J. H. — Old Lace and How to Collect it. Connoisseur. V. 1, 
pp. 34-38. 

1140 — Marsland & Co. — New Eegistered Designs in Crochet. 1853. 

1141 — Martin, J. — Schon Newes Modelbucli von allerley lustigen Modem naa- 
zunehen zuwurcken vn zusticke gemacht im Jar. Oh: 15.99. Gedruckt zu 
Strassburg, bey Jost Martin am Kommarckt. In verlegung Ludwig Kb- 
nigs von Basel, Anno M.DCVI. 4°. 40 leaves. B. K. M. 

1142 — Martin, J. Schon Newes Modelbuch, etc. — [Another edition of No. 1141.] 
4°. 40 leaves. Sigs. A — K4. 1619. (Rosenthal Sale Catalogue.) 

1143 — Marvin, Helen — The Beautiful Art of Sweden. The Lace Maker. Sara 
Hadley, Editor. 34 West 22nd Street, New York. 

1144 — Marvin, H. — Five Crocheted Caps. Womans Home Companion. V. 41, 
p. 32, February, 1914. 

1145 — Marvin, H. — For Baby in Warm Weather. Womans Home Companion. 
V. 40, p. 32, July, 1913. 

1146 — Marvin, H. — New Heavy-thread Tatting. The Woman's Home Com- 
panion. V. 40, p. 29, May, 1913. 

1147 — Marvin, H. — Old-fashioned Knitted Quilts. Womans Home Companion. 
V. 41, p. 55, April, 1914. 

1148 — Marvin, H. — Practical Crocheted Table-mats. Womans Home Compan- 
ion. V. 40, p. 29, February, 1913. 

1149 — Mason, Edith, at Taunton — Dentelle, Bolero, dentelle Honiton. Projet de 
dentelles de Honiton. Art applique, Ire annee, Paris. 

1150 — Mason, Edith — Honiton Lace. Art Workers' Quarterly. V. 2, No. 8, 
pp. 144-146. 

1151— Masters, E. T.— Drawn Linen Work. 117 pages. London, 1890. B. M. 

1152 — Materiaux pour servir a l'histoire de la dentelle en Belgique. Bruxelles, 
1908, etc. 4°. . . planches. 

1153 — Matitsch, H. — The Matitsch Lace -Making Machine. Scientific American 
Supplement. V. 59, pp. 24372-24373. 

1154 — Maynard, A. — Christmas Gifts in Crochet, Ladies Home Journal. V. 
20, p. 27, October, 1903. 

1155 — Mayol, Jehan — Sensuyuent lis patrons de messire Antoine Belin, Beclus 
de sainct Martial de Lyon. Item plusieurs autres beaulx Patrons nou- 
veaulx, qui ont este inventez par Jehan Mayol Carme de Lyon. On les 
vend a Lyon, chez le Prince, n.d. Small 8vo, 6 ff., 85 plates. Copy at 
the Arsenal has 12 ff. The same device of the printer in the frontispiece 
and at the end of the book. "Finis." One of the patterns represents St. 
Margaret holding the cross to a dragon, but in these four books the designs 
are copied from each other, and are many of them repetitions of Quinty. 
Bib. Ste. Genevieve. — Bib. de 1 'Arsenal. 

1156 — M., C. E. — Hints on ornamental needlework as applied to eccle. purposes. 
Plates. 16mo. Lond. (1843.) S. K. M. 

1157 — McCutcheon — Mexican Drawn-work. 1893. (Collection of Kursheedt 
Manufacturing Co., N. Y.) 



BIBLIOGRAPHY 321 

1158 — McGratli, A. K. — New Darned Work from Tuscany. Ladies Rome Jour- 
nal. V. 28, p. 27, August, 1911. 

1159 — Mee, C. — Crochet explained and illustrated. Pis. 12mo. Lond. 1846. 
S. K. M. 

1160 — Melani, A. — Pizzi nioderni (Riviera. Venice. Bologna). La Lettura, 
March, 1904, Milan. 

1161 — Melani, A. — Svagli artistici Femminili dove si parla di Bicami, di Pizzi, 
etc. Milan, Ulrico Hoepli, 1891 and 1892, pp. 348. B. M. 

1162 — Meredith, Mrs. — The Lacemakers. (Account of the effort to establish 
lace-rnaking in Ireland.) Svo. Lond. 1865. S. K. M. 

1163— Merli, A.— Origine delle Trine a filo di Eefa. Genoa, 1864. 

METEOPOLITAN MUSEUM OF AET (BULLETINS) LACE NOTES 

BY F. M. 

1164— Vol. 1. 1905-6. March, Page 64, Met. Mus. Lace Collection. 

1165 — May, Page 89, Met. Mus. Lace Collection. 

1166 — June, Page 99, Met. Mus. Lace Collection. 

1167— Dec, Page 166, Gift— Hamilton Gary. 

1168— Vol. 2. 1907— June, Page 108, Gift— Mrs. A. S. Wheeler. Handkerchief. 

1169— July, Page 128, Gift— Mrs. Wm. K. Vanderbilt, Eoyal chris- 

tening Eobe. 

1170 — August, Page 143, Mrs. Duval, Point de Sedan 
1171_Vol. 3. 1908— August, Page 156, Met. Mus. Lace Collection . 

1172 — October, Page 190, Gift — Mrs. Edward Luckemeyer. 

1173— November, Page 200, Nuttall Collection. 
1174— Vol. 4, 1909— May, Page 87, Blackborne Collection. 
1175 — July, Page 133, Van Eensselaer Collection. 
1176— Vol. 5. 1910- June, Page 151, Selignian Collection. 
1177 — — Page 258, Harriman Collection. 

1178— Vol. 6. 1911— October, Page 198, Loans, Blumenthal, Greenleaf. 

1179— Vol. 8. 1913— May, Page 110, Bequest— Mrs. Harriette Goelet ; Gift— Mrs. 

Eussell Sage. 
1180— August, Page 182, Gift— Mrs. Edward S. Harkness, Miss 

'Tuckerman, Mrs. E. W. Moore. 
1181— Vol. 9. 1914— July, Page 165, Gift— Mrs. Wm. Bliss, Mrs. Fletcher, Mr. 

Thatcher Adams. 
1182 — December, Page 261, Flemish Laces. 

1183— Vol. 11. 1916— March, Page 73, Gift— Mrs. Henry S. Bedmond. 
1184— June, Page 13$ Needle and Bobbin Club. 

1185— Vol. 12. 1917— January, Page 3, Gifts— Mrs. Wm. P. Douglass, Point de 

France. 

1186— February, Page 40, Gifts— Mrs. E. T. Auchmuty. 

1187— April,Page 96, French and Flemish Laces. 

1188— May, Page 105, Gift— Mrs. Joseph Pulitzer, Flemish Lace. 

1189 — August, Page 169, Hearn Bequest of Laces. 

1190 — December, Page 246, Eearrangement of Laces. 



322 A LACE GUIDE FOB MAKERS AND COLLECTORS 

1191 — Vol. 13. 1918 — April, Page 95, An Important Loan of Lace. 

1191a-Vol. 14. 1919— June, Page 130— A Summer Exhibition of Tapestry and 
Lace. 

1192 — Metropolitan Museum of Art — Photographs of Lace. 

1193 — Metropolitan Museum of Art, The Textile Collection and its Use. Sup- 
plement to the Bulletin of the Metropolitan Museum of Art. May, 1915. 

1194 — Meuer, M. — Altar schmucb. 8vo. Leipzig, 1867: 

1195 — Meyer, D. — Zierat Buch, von allerhandt Kutschnur, Schleyer deckel, Kra- 
gen, Leibgiirtel, Passimenten, Handschug, Wehrgeheng und Schubenehen, 
Messerscheyden, Secklen, Friichten, Blumen und ands, raehr. Allen Per- 
lenbefftern, Nederin, Lehrinngen und andern welche lust zu dieser Kunst 
tragen, sehr niitzlich. Inn cliese Format zusammen ordiniert und gsetzt 
durch Daniel Meyer Mahlern. lster Theil. 1618. Franckfuhrt am Mayn, 
bey Eberhardt Kusern zu fmden. 11 ff., 9 plates. In-8vo. 

1196 — Meyer, F. J. — Flower and Fruit Basket in Cross-stitch. Ladies Home 
Journal. V. 31, p. 32, August, 1914. 

1197 — Mezzara, Paul, at Paris — Dentelles. Art Applique, Ire annee, Paris. 

1198 — Michel, W. — Neue Schlesische Spitzen. Dehorative Kunst, Jahrg. 15, pp. 
377-380. Munich, 1912. 

1199 — Mickel, A. — Simple Problems in Applied Design for Art Needlework. 
Manual Training. V. 16, pp. 164-168, November, 1914. 

1200 — Migem, Em. van — Exposition Universelle d'Anvers, 1894. Classe 36. 
Dentelles, etc. Rapport. Brussels, A. Lesigne, 1896. 

1201 — Migeon, Gaston — Les Arts du Tissu. Paris, Eenouard, 1909. 

1202 — Mignerac, Mathias — Lace Patterns. Paris, 1605. 

1203 — Mignerak, Matthias — La pratique de l'aigville indvstrievse du tres ex- 
cellent Milour Matthias Mignerak. Anglois, ouvrier fort expert en toute 
sorte de lingerie. Ou sont tracez diuers compartimens de carrez tous dif- 
ferans en grandeur et invention, auec les plus exquises bordures, desseins 
d'ordonances qui se soient veuz iusques a ce iourd'hui tant poetiques, his- 
toriques, qu'autres ouurages de poinct de reborcl. Ensemble les nouuelles 
inuencions franchises pour ce qui est de divotion et contemplation. A la 
tres Chrestienne Eoine de France et de Navarre. Auec priuilege du Eoy, 
1605. A Paris Per Jean Le Clerc rue St. Jean de Latran a la 
Salamandre Roialle. Sur le titre un Frontispice. Deux femmes Diane et 
Pallas tenant des metiers dans leurs mains. En haut les armes de France 
et de Navarre, soutenues par de petits amours. En bas des amours qui 
filent et qui devident. Entre les branches d'une paire de ciseaux, il y a 
un coussin a, dentelle avec un carre de lacis en voie d 'execution et dont le 
modele est une marguerite. On lit en haut: Petrus Firens fecit. I. Le 
Clerc excudit. Dedicace a la Peine Marie de Medicis. Discours en vers 
sur le lacis. En somme 4 ff. preliminaires et 72 planches de broderies, 
dentelles . . . The patterns consist of the Queen's arms and cypher, 4 Scrip- 
ture, subjects: Adam and Eve, the annunciation, Ecce Homo, and Magdal- 
en; 4 Elements, 4 Seasons; Roman Charity, Lucretia, Venus, and "Pluye 
d'or ;" 6 Arbes a fruit, 6 pots a fleurs, 30 Carres grands, moyens et petits; 
6 Bordures, and, what is quite a novelty, 6 "Passements faits au fuseau" 



BIBLIOGRAPHY 323 

the first mention of pillow lace in any of the French pattern-books. Vente 
Libri, Vente Yemenitz, 1859, Vente Pichon, 1869. Bib. Baron J. Pichon, 
Cat. d'Estrees, Bib. Nat. 

1204 — Miles, Eoger — La Dentelle. Transformation progressive des 15me et 16me 
siecles. 500 reproductions documentaires (Allemagne, France, Italie, 
Aubes, Berthes, bordures, carres, Collerettes, Feuillages, Fraises, Gor- 
gerines. Manchettes, Mouchoirs, Pertuis, etc. Un volume in-4° illustre 
de 80 planches. 

1205 — Milroy, M. E. W. — Home Lace Making. London, Scott, Greenwood & Co., 
1906. B. M. 

1206 — Mincoff, Elisabeth, and Marriage, M. S. — Pillow Lace — a practical Hand- 
book. London, J. Murray, 1907. B. M. 

1207 — Minerva — Zierlich-webende Minerva oder neu-erfundenes Kunst, und Bild- 
Buch der Weber, und Zeichner- Arbeit, etc. (Johann Christ. Weigel). n.d. 

1208 — Ministere de 1 'Industrie et du Travail — Eecensement general des indus- 
tries et metiers. Brussels, 1896. 

1209 — Minkus, Fritz — Oesterreichische Spitzen. Vienna, F. Wolfrum & Co. 
1907. 

1210 — Minne, Jenny — Les Dentelles de Belgique a 1 'Exposition de Liege (Album 
de la Dentelle. Liege, 1905). Numero special de La Dentelle, 1905, 
Paris. 

1211 — Minne, Jenny — Le Palais de la Femme. (Album de la Dentelle. Liege, 
1905). Numero special de La Dentelle, Paris, 1905. 

1212 — Minne-Dansaert, Mile. Jenny — Rapport sur les dentelles et les broderies, 
addresse a la Commission de 1 'Exposition de Chicago. Brussels, 1894. 

1213 — Mitford, E. B. — Lace and Lace Workers of Flanders, etc. Sunday Maga- 
zine. V. 34, p. 927. 

1214 — Model-Biichli. — 1529 Ein new getruckt model Buchli auff auss nehen vnnd 
bortten wircken ynn der laden vnnd langenn gestell. Ganntz gerecht nach 
abteilung der feden tzal. (Rosenthal Sale Catalogue.) Said by Rosen- 
thal to be the only known copy, and hitherto undescribed. He reproduces 
the title. Designs copied later by Claude Nourry (Lyons, c. 1530) and 
Basset (Frankfurt, 1569). See Jorg Gastel, of which this is a later edi- 
tion with a new titlepage. 

1215— Model-Buchli— Vol. 1, Title 32 pages and fly : 32 woodcuts, obi. 4to. No. 41 
in E. F. Strange bib. ; No. 293 in Fairfax Murray sale. Metro. Mus. 

1216— Model-Buchli— Vol. 2, Ein New Furm Buchlein. n. d. Title and 32 pages, 45 
cuts, 4to. No. 25 in E. F. Strange bib. ; in Rosenthal sale cat. : No. 292 in 
Fairfax Murray sale. Metro. Mus. 

1217— Modelbiich ; Zweiter. Theil : Franckfurt am Mayn, 1569. 4to, ff . 44. Nos. 
36 and 37 are cited by the Marquis d'Adda. 

1218 — Model-Buch, Neu — Neu Model-Buch, darinnen allerley gettung schoner 
Modeln der neuen, etc. Probably a reprint. 27 plates. Lindau am 
Bodensee, n.d. 

1219 — Modelbuch welscher ober vnd niderlaen discher arbait. Gedruckt zu 
Francfort. Petit in-4°. Sans date (vers 1550). Titre et 39 planches. 



324 A LACE GUIDE FOR MAKERS AND COLLECTORS 

La signature D est double, mais les modeles ue sont pas les rnenies. Cata- 
logue Tross, 1867. 

1220 — Modelbiich Welscher, Ober uud Niderlandiseher Arbait. Getruckt zii 
Franckfort. No date, but probably at least as early as 1530. 4to. 20 
leaves. 

1221 — Modenwelt, Die — Muster altdeutscher Leinenstickerei. Dritte Sammlung, 
herausgegebeu von der Redaction der Modenwelt: und Vierte Sammluug 
herausgegeben von der Eedaction der Modenwelt. Berlin, Fr. Lipper- 
heide, 1893. 

1222 — Moderne Compositionen fiir Spitzen. Plauen, Chr. Stoll, n.d. 

1223 — Modernes Kunstgewerbe. Spitzen. Illustrirte Zeitung, June 6, 1901, 
Leipzig. 

1224: — Modernes Kunstgewerbe. Neue Spitzen. Illustrirte Zeitung , May 29, 
1902, Leipzig. 

1225 — Modern Lace Making, 1901. (Collection of Kursheedt Manufacturing Go., 
N. Y.) 

1226— Modern Lace-making. Delineator. V. 63, pp. 122-123: 300-301: 1058- 
1059. V. 64, pp. 260-261, January, February, July, August, 1904. 

1227 — Modern Lace-making. Delineator. V. 65, p. 115, January, 1905. 

1228— Molded Lace. Independent. V. 71, pp. 217-218, July 27, 1911. 

1229 — Moleon, V. de — Notice sur la Dentelle. Dictionnaire de la Conversation, 
au mot "Dentelle." 

1230 — Monsarrat, J. G. — Oriental Darned Work. Ladies Home Journal. V. 23, 
p. 66, March, 1906. 

1231 — Monte, II — II Monte, opera nova di recami, intitolata il monte. Nella 
quale si ritroua varie et diversi sorti di mostre di punti, in aere a fogliami. 
Dove le belle et virtuose donne potrano fare ogni sorte cli lauori accomo- 
date alia uera forma, misura, et grandezza che debbono essere ne mai piu 
par la dietro da alcuno vedute. Opera non men bella cbe vtile et neces- 
saria. Petit in-4°. Au-dessous de ce titre, une grande marque d'im- 
primeur representant un oiseau de proie, les serres sur une biche. Tout 
autour des oiseaux voltigeants. Cette composition est renfermee dans un 
cartouche, forme de cuirs enroules et de mascarons et entouree d'une ban- 
derole sur laquelle on lit : Virtuta parta, non sibi tantum. Au-dessus : In 
Venetia. En Resume : un titre et 15 feuillets dont 29 de planches de bro- 
cleries. Bibliotheque de 1 'Arsenal. 

1232 — Monte, II — II monte, opera nova di recami dove trovansi varie mostre di 
punto in aero. Venezio 1557. 16 feuillets et 30 planches. Cicognara. 
Bibliotheque du Vatican. 

1233 — Monte — II Monte. Opera Nova Di Eecami, Intitvlata II Monte Nellaquale 
Si ritroua, varie & diuerse sorti di mostre, di punto in aiere, a fogliami, 
Doue le belle, & uirtuose donne potramo fare ogni sorte di Lauoro, accom- 
modate alia uera forma misura, & grandezza, che debbono essere, ne mai 
piu per l'adietro da alcuno uedute. Opera non men bella che vtile e neces- 
saria. Nihil difficile uolenti. In Venetia, L'Anno MDLVII. 4°. Title 
and 39 cuts. B. K. M. 



BIBLIOGRAPHY 325 

1234— Monte— II Monte, etc.— [Another edition of No. 1233.] Opera Noua Di 
Eecami intitolata . . . Done le belle, & uirtuose Donne potramo fare ogni 
sorti di lauoro . . . (etc.). In Venetia. n.d. B. K. M. 

1235— Moody, A. Penderel— Devon Pillow Lace. London, Cassell & Co., 1908. 
B. M. 

1236 — Moody, A. Penderel — Lace Making and Collecting. Ill pp. Cassell, 1909. 
B. M. 

1237— Moore, N. H.— Early Laces. St. Nicholas. V 31, pp. 290-295, Feb. 1904. 

1238— Moore, N. H.— Lace Book. Dial. V. 37, p. 427, Dec. 16, 1904. 

1239— Moore, M. Hudson— The Lace Book. London, Chapman & Hall, 1905. 
B. M. * 
—Later Edition— Hodder & Stoughton, 1908. B. M. 

1240— Moore, Mrs. N. H.— Lace-maker. St. Nicholas. V. 34, pp. 816-817, July, 
1907. 

1241 — Morasso, Mario — LArte dei Merletti a Venezia, "Emporium, 1902, Ber- 
gamo. 

1242 — Morasso, Mario — I Merletti Veneziana nella storia e nella vita. Regina, 
1904, No. 3, Naples. 

1243 — Morisset, Blanche and Henriette, at Paris — Chemin de table. Art ap- 
plique, 2e annee, Paris. 

1244 — Morris, E. — Cut-work Table Linen. Harper's Bazaar. V. 40, pp. 654- 
656, March, 1909. 

1245 — Morton, R. — How to Take Care of Lace Curtains. Country Life. V. 15, 
p. 16, November, 1908. 

1246 — Mosse, Gebr. — Art, Linen and Lace. 

1247 — Most Beautiful Laces in America : pictures. Ladies Home Journal. V. 
18, p. 201, September, 1901. 

1248 — Mouchoir en guipure. Arte Italiana, 1901, No. 10, Milan. 

1249 — Mount, M. W. — Oriental Designs in Table-linen. Woman's Home Com- 
panion. V. 31, p. 33, January, 1904. 

1250 — M., B. — Niiw Modelbiich, allerley gattungen Dantelschniir, so diser zyt in 
hoch Tiitschlanden geng unci briicliig sind, zu underricht jren Leertoch- 
teren unnd alien anderein schurwirckeren zu Zurych und wo die sind, yetz 
niiwlich ziibereit, und erstmals in truch verfergket durch R. M. No place 
or date, but as appears, both from the title and preface, to be printed at 
Zurich, by Christopher Froschoviu'. The date probably from 1530 to 1540. 
4to. 24 leaves. On the title a woodcut of two women working at lace pil- 
lows. Vienna Library, Royal Library, Munich. 

1251 — M., R. — Froschower, (Pub.) — Bobbin Lace Patterns, by R. M. Zurich, 
1560. 

1252 — Muentz, Eugene — Tapisseries, Broderies et Dentelles. Paris, Librairie 
de l'Art, 1890. 43 pages. In British Museum. 

1253 — Miiller, C. — New Modelbuch Von vilen artigen vnd Kunstreichen Modem 
ziigericht, Allen Najerin, Seidenstricken, vnd andern so sich kunstlichs 
nayens, wirgkens oder stickens, auck frembder Ziig oder Moritzgen ge- 
brauchen, sehr dienstlich, audi vormals dergleichen nie in Truck ausgangen. 



326 A LACE GUIDE FOB MAKERS AND COLLECTORS 

M.D.LXXII. [On last page a printer's device, a naked man holding an 

arrow] Getruckt zu Strassburg am Kornmarckt bey Christian Muller 

[Cypher C K and a knot.] 4°. Cuts. B. K. M. 
1254 — Muller, Mile. M. — Col; eventail. L'Art decoratif, 5e annee, Paris. 

Munster Reproduction — See No. 810. 

1255 — Murphy, B. — Search for Old Lace in Venice. Catholic World. V 22, p. 

852. 
1256 — Murphy, S. J. — Report on the lace industry in France and Belgium, 

1887. Fcp. fol. S. K. M. 

1257— Murphy, S. J.— Extracts from the (ahove) report. 8vo. Waterford, 1887. 

S. K. M. 
1258 — Musee de Cluny — Catalogue du Musee de Cluny, a Paris. 
1259 — Musterbuch fur Stickerei. 36 plates. Plauen, C. Stoll. (Collection of 

Kursheedt Manufacturing Co., N. Y.) 
1260 — Musterenwiirfe fur Stickereien, Spitzen und Gardinen, preisgekront, etc. 

Zweite, von 19 auf 30 Tafeln vermehrte Auflage. Plauen, Chr. Stoll, n.d. 
1261— Myra— Crochet Edgings. London, 1888, etc. 8°. B. M. 
1262 — Myra — Harlequin Crochet. Designs for needlework. 64 pp. London, 

1888. 8°. B. M. 

1263 — Myra's Knitting-books. London, 1889. In British Museum. 

1264 — Myra & Son — Antique and Modern Point Lace. (The Silkworm Series.) 
London, (1888). 12°. 

1265 — Myra & Son — Devonshire or Honiton lace. (The Silkworm Series.) Lon- 
don (1888). 12°. 

N 

1266 — Naber, J. W. A. — Dentelles anciennes et modernes au Musee des Arts a, 



Haarlem. Haarlem, 1903. In British Museum. 
1267 — Naber, Johanna W. A. — Oude en nieuwe Kantwerken. Haarlem, H. Klein- 

mann & Co., 1903. 
1268— Naguet, F.— Broderie et Dentelles. L'Art, 1889. V. 46, pp. 3-6. 
1269 — Nakladem Mestskeho priimysloveho musea v Hradci Krai. (Dentelles 

d'apres d'anciens modeles a Vamberg. Publiees par le Musee Industriel 

de Hradec Kralove). 
1270 — Nanduti or Spider-web Lace of Paraguay. Bulletin International Union 

of American Republics. V. 29, pp. 570-576, September, 1909. 
1271 — National Art Library, South Kensington Museum. A list of books and 

pamphlets illustrating part 2 lace and needle work. 86 pages. Eyre & 

Spottiswoode, London, 1888. 
1272 — Natural History of Dress, The — VII, Lace. The Leisure Hour, June, 

1870, London. 
1273 — Needle and Brush — Butterick Publishing Co. (Collection of Kursheedt 

Manufacturing Co., N. Y.) 
1274— Needlecraft— Nos. 13, 15, 19, 21, 23, 27, 41, 43, 49, 51, 64. Manchester 

School of Embroidery. (Collection of Kursheedt Mfg. Co., N. Y.) 



BIBLIOGRAPHY 327 

1275 — Neh-und Striekbuch (neues) fiir das schone Geschlecht, etc. (27 plates 
of designs for Samplers and other needlework.) Obi. f ol. Niirnbergund 
Leipzig, 1874. S. K. M. 

1276 — Neil, M. H. — Washing and Ironing Lace. Delineator. V. 75, p. 326, Apr. 
1910. 

1277— Netto, J. F.— Wasch-Bleich-Platt-und Naeh-Buch, zum Selbstunter- 
richt fur Damen. (Plates). Obi. fol. Leipzig, 1796. S. K. M. 

1278 — Netto, J. F. — Zeichen-Mahler-und Stickerbnch zur selbstbelehrung fiir 
Damen welche sich mit diesen Kiinsten beschastigen von J. F. Netto Leip- 
sick, 1795. In-f olio oblong. 24 planches, avec nombi~eux modeles de bro- 
deries a executer sur soie. Chaque planche est en double, en noir et en 
couleur. 

1279 — Netto, J. F. and F. L. Lehmann — Neuestes Toilettengeschenk der Strick- 
Stick-, Nak-und anderen weib lichen Arbeiten auf das Jahr 1811 und 
1812, mit Aufsatzen fiber Anwend, d. kokeren Kunst und iiber Gegenstaude 
des weibl. Berufs und Verwaltung d. Hauswesens. Mits 18 schwarzen und 
kolor. Tafeln. Dasselbe auf das Jahr 1814 u. 1815. Mit 32 kolor. u. 
schwarzen Kupf. Leipzig. 

1280 — Newbery, F. H. — Work of Ann Macbeth. International Studio, V. 18, pp. 
40-49, November, 1902. 

1281 — New Cross-stitch in Italian Design. Ladies Home Journal, V. 31, p. 38, 
November, 1914. 

1282 — New Modelbuch von allerhandt Art nehens und Stickens. Frankfurt a/M. 
Niclas Bassee, 1571. ; i| 

1283— New Things in Crochet. Ladies' Home Journal, V. 29, p. 30, July, 1912. 

1284 — New Things in Fancy Crochet. Ladies' Home Journal, V. 28, p. 29, Aug. 
1911. 

1285 — New Furmbuhclin, Ein — Sans lieu, ni date. In-4° gothique. p n c. 4 
bandes d 'arabesques. Au verso 4 bandes d 'arabesques noires sur un fond 
blanc quadrille tres fin. B. Sur un fond quadrille on lit en gothique les 
mots : so ir um mir bleybet. Au verso : un mein wort um eudz. p n c. Bley- 
ben Werdet ir bittu. Au verso, Was ir wolt und es. p n c. Wirt eudz mi 
derfart. Au verso, Denn feid lass idz. p n e. Eiihz meinen fridgeb. Au 
verso, ich, eudz midzt gebidh eudz. C. Wie die welt gibt. Au verso, 
Tholus aber. p n c. Lettres. Verso lettres. p n c. Lettres. Verso let- 
tres. p n c. Lettres majuscules. Verso Hatt und wer midz sihrt der. D. 
Einceaux. Verso rinceaux. pnc. 3 bandes de rinceaux en hauteur, 
arabesques. Verso 4 bandes d 'arabesques, pnc. 4 bandes d 'arabesques 
en hauteur, chasse au cerf. Verso 3 bandes de Groteschi. pnc. 4 bandes 
de Groteschi. Verso bandes d 'arabesques. E. Groteschi. Arabesques. 
Verso, idem. Volume extremement rare. Non cite. Paraissant avoir ete 
publie vers 1530. Le titre est imprime en grosses lettres de forme. Les 
modeles de dentelles sont au nombre de 40, tous a executer au lacis, graves 
assez grossierement ces modeles sont remarquables par leur tournure arch- 
a'ique. Ce sont surtout des bandes et ornements avec rinceaux et grotes- 
ques inspires de la sculpture. On y trouve aussi un alphabet et des priere 
n'occupant pas moins de 16 pages. Sur une des planches, une priere cette 



328 A LACE GUIDE FOR MAKERS AND COLLECTORS 

inscription: VAHMIS. Vente Destailleurs, 1895. See No. 1221. Biblio- 

theque Nationale. 
1286— Nieder, Marie— Sonnen-Spitzen— Teneriffa Arbeit. 1906. 
1287 — Niemann, Ernst — Die Spitzenkloppelei im Erzgebirg. 5 dessins de G. 

Mandlick. Daheim, Dec. 21, 1901, Leipzig. 
1288 — Normal programm der K. K. Fachscbulen fiir Spitzenkloppelei. Zentral- 

blatt fiir das gewerbl. Vnterrichtsivesen in Osterreich. Vienna, Alf. Hold- 
ers, 1903. 
1289 — North Ayrshire Lace Cnrtain Co. — Novelties for 1901 in lace curtains. 

Darvel (Nottingham pr.) (1901) la. 8o. 
1290— Nottingham Lace, W. S. Elliott's Designs. Artist, V. 26, p. 99, New York. 
1291— Nottingham Lace Edgings— The Artist, March, 1900, London. 
1292 — Nottingham Lace: Its History and Manufacture. Blackwood's Edinburgh 

Magazine, October, 1882, Edinburgh or London. 
1293 — Nottingham Lace-making. Scientific American Supplement, V. 64, p. 387, 

December 21, 1907. 
1294 — Nottingham — Patterns of Nottingham Lace, referred to in the Mar. Be- 

port of the Nottingham School of Design, 1850. (73 patterns in a folio 

cover.) S. K. M. 

1295 — Nottingham Statistics of the Bobbin Net Trade, etc. Fol. (Nottingham) 
1833-6. S. K. M. 

1296 — Nourry, Claude, diet le Prince — La Fleur des patrons de lingerie, a, deux 
endroitz, a, point croise, a point couche et a point picque en fil d'or, fil 
d' arget et fil de soye ou aultre en quelque ouuraige que ce soit en com- 
prenant Part de broderie et tissuterie. On les vend a, Lyon en la maison 
de Claude Nourry diet le Prince. In-4°. Ce titre est circonscrit par une 
composition, ou l'on voit en haut un entablement demi-circulaire posant 
sur deux colonnes surmontees chacune d'une petite figure de femme brodant 
a 1 'aiguille. Au milieu, un homme travaillant a, un petit metier qu'il tient 
des deux mains, appuye sur son genou. En bas de la composition et au- 
dessous du titre, deux femmes travaillant, celle de droite a, un metier de 
basse lisse, celle de gauche a un petit metier pose devant elle sur une 
table. Elle est assise sur une chaise de trois quart a, droite. Dans les 
medallions ronds qu'on voit au milieu des colonnes, a gauche un lion 
surmonte de trois fleur s de lys, a droite un cceur surmonte d'une couronne. 
Cette premier page est cotee A. Bien au verso. Dans certains exem- 
plaires, ce verso est quadrille. Au verso d'un page, on voit un cceur sur- 
monte d'une couronne dans un ecusson au-dessous duquel est un lion 
couche et rugissant. Cette marque d'imprimeur est dans un encadrement 
rectangulaire sur la bordure duquel ou lit: Cor contritum et humiliatum 
devs non despiciet, Psalmo 50. E n resume, 12 pages dont 21 planches de 
broderies. Dans certains exempl aires la marque d'imprimeur est modi- 
fied. Le cceur surmonte d'une conronne est place au centre d'une 
couronne d'epines, autour de laquelle s'enroule une banderolle sur la- 
quelle on lit : Cor contritum et humiliatum deus non despiciet. Le lion 
est ou-dessous, comme ci-dessus. Le tout est entoure d'un trait carre 



BIBLIOGRAPHY 329 

rectangulaire et d 'un filet. Aux quatre coins interieurs de cet encadrement 
line fleur de lys. Vente Destailleurs, 1895. 

1297 — Nourry, C. — La fleur des patrons de lingerie, a denx endroitz, a point 
croise, a point couche, et a point picque, en fil dor, fil darget, & fil de soye, 
ou aultre en quelqne ounrage que ce soit, en comprenant lart de broderie 
et tissuterie. On les vends a Lyo en la maiso de Claude nourry, diet Le 
Prince. (Cocheris reproduction.) 

1298 — Nourry, Claude, die le Prince — Livre nouueau diet Patrons de lingerie; 
e'est assavoir a deux endroitz, a, point croise, point couche, et point picque, 
en fil d'or, d'argent, de soye, on anltre, en quelque ouurage que ce soit: en 
comprenant Part de broderie et tissuterie. On les vend a Lyon en la mai- 
son de Claude Nourry die le Prince. Sans date. In-4° gothique. Ce titre 
est dans un encadrement forme par deux colonnes, surmontees d'un fron- 
ton demicirculaire et decore en haut, a droite et a gauche, par des 
rinceaux de feuilliges, sur le fut de ces colonnes et attaches par des 
rubans deux ecussons. Dans celui de gauche on voit un lion, et au-dessus 
trois fleurs de lys. Dans celui de droite un coeur surmonte d'une couronne. 
En bas au-dessous du titre, deux f emmes travaillant. Celle de droite de 
profil a gauche a, un metier a, ruban pose devant elle, sur une table. L'- 
autre est a moitie cachee par un metier auquel elle travaille. Page non 
cotee. Au verso de cette page dans un ecusson forme par des cuirs en- 
roules, un cceur surmonte d'une couronne, le tout dans une couronne d'- 
epines autour de laquelle, s'enroule une banderole, sur laquelle on lit: Cor 
contritum, et humiliatum deus non despiciet. Ps. 50. Au-dessous un lion 
couche. Cette marque d'irnprimeur est entouree d'un trait carre et d'un 
filet. En resume 24 pages dont 45 planches de broderies. Vente Yemen- 
itz, Vente Destailleurs. 

1299 — Nourry, Claude — See Saincte Lucie. 

1300 — Nouveaux Portraits de Point coupe et Dentelles en petite, Moyenne et 
grande Forme. Nouvellement in vente et mis en lumiere. Montbeliard, 
1598. 

1301 — Nnlle, Mevrouw, L. W. — Handleiding tot het vervaardigen van duchess- 
kant; leerbock der nederlandische Kantwerkschool, met inleiding van A. 
E. von Saher. Haag, 1907. 

o 

O'Brien, see Vere, No. 1855. 



1302— Old Lace. Once a Week, V. 12, p. 288. 

1303 — Old Lace — (Lace Flounce, Blonde, worn by the Empress Eugenie). The 
Connoisseur, March, 1902, London. 

1304 — Old Laces. 35 photographs. P. Calavas. (Collection of Kursheedt Man- 
ufacturing Co., N. Y.) 

1305 — Old Venetian Point Lace. Magazine of Art, V. 7, p. 66. 

1306— Old "World Laces. Harper's Bazaar, V. 33, pp. 1081-1084, Aug. 25, 1900. 

Ongania Reproductions— See Nos. 627, 628, 629, 812, 1112, 1321, 1357, 

1369, 1370, 1371, 1372, 1402, 1412, 1627, 1629, 1631, 1735, 1812, 1816, 1823, 
1827, 1832, 1839, 1954, 1957. 



330 A LACE GUIDE FOR MAKERS AND COLLECTORS 

1308 — Oriental Lace — exhibition at the National Arts Club, N. Y. Times, Mar. 
30, 10:5. 

1309 — Origine de la dentelle de Venise et l'ecole de Burano. Venice, 1897. 

1310 — Ornamentation for Textiles. Neue farbige Vorlagen fur die Textil-Indus- 
trie. Plauen, n.d. One vol., oblong folio, original boards. 24 plates 
with 2, 3 or 4 designs in colors. 

1311 — Ornaniento delle belle et virtuose donne. Opera nova nella qualle trover- 
rai varie sorti di frisi, con li quali si potra ornat ciascuna donna et ogni 
letti con ponti tagliati, ponti gropposi, et ogni altra sorte di ponti per fare 
quelle belle opere che si appartengono alle virtuose et lodevoli Franciulle. 
Libro primo. In-4°. Sans lieu, ni date. Ce titre est inscrit dans un car- 
touche blanc, dont les bords sont ornementes de cuirs enroules. En bas une 
femme de la haute societe, assise a droite de profil a, gauche, un ouvrage 
sur ses genoux, rnontre du doigt, la main etendue, une broderie posee sur 
les genoux d'une ouvriere assise pres d'elle sur une chaise. A gauche de la 
composition une troisieme femme regarde egalement cet ouvrage. En bas 
au premier plan a leurs pieds, une corbeille. Eien au verso. 12 feuillets 
formant un cahier de 12 pages non cotees. Au verso de la derniere page 
on lit: Alle virtuose et nobili donne. Au-dessous une petite tete d 'enfant 
ailee et dix lignes de texte finissant par ces deux vers : Quelle che questo 
libro compraranno, Mai facie di cuser si trouaranno. En resume, 12 pages 
dont 21 planches de broderies. Catalogue Destailleurs. On a scutcheon. 
"Libro Primo." Lib. Victoria, and Albert Museum. See Pagan. 

1312 — Omamento delle belle et virtuose donne, etc. — 32 leaves, with woodcut de- 
signs on both sides. Venetian, 16th cent. Sm. 4to. n.p., n.d. S. K. M. 

1313 — Ornamento delle belle donne et virtuose: Opere in cui troverai varie 
sorti di frisi con li quali si potra ornar ciascun donna. Ven. 1544. Quoted 
in Cat. Cappi, of Bologna, 1829. 

1314 — Ornamento Nobule per Ogni Gentil Matrona, dove si Contiene Bavari, 
frisi d'lnfmita Bellezza Lauroi, per Linzuoli Traverse, e Pacuoli, etc., 
Opera per Pittori, Scultori et Dis egnatore gioueuole, etc. 19 plates of 
designs for Lace, etc. Printed in facsimile of the original of 1620. Folio, 
Venice, 1876. 

1315 — Ornements remarquables de l'Exposition industrielle des ouvrages de 
femmes en 1881, publies par le Ministere d Agriculture, etc. Obi. fol. 
Budapest, 1882. S. K. M. 

1316 — Ostaus, Vean — Le Tresor des patrons, contenant diverses sortes de brod- 
eries et lingeries pour coudre avec grande facilite et pour ouvrer en di- 
verses sortes et picquer avec l'esguille, pulveriser, par dessus et faire ou- 
vrages de toutes sortes de points par Jean Ostaus, Lyons, Ben, Bigaud, 

1580. In-4°. 

1317 — Ostaus, Jean — Le Tresor des patrons, contenant diverses sortes de bro- 
deries et lingeries pour coudre avec grande facilite et pour ouvrer en di- 
verses sortes de piquer avec l'esguille, pulveriser par dessus et faire ou- 
vrages de toutes sortes de points &ct par Jean Ostaus, Lyon, Ben. Bigaud. 

1581, in 4-to. Quoted in Art. "Tricot et Travaux des Dames." 



BIBLIOGRAPHY 331 

1318 — Ostaus, Jean — Le Tresor des patrons, contenant diverses sortes de bro- 
deries et lingeries pour coudre avec grande facilite et pour ouvrer en di- 
verses sortes et picquer avec l'esguille, pulveriser par dessus, et faire 
ouvrages de toutes sortes de points par Jean Ostaus. Lyon, Ben, Eigaud, 
1585. In-4°. Mentionne dans la Bibliotkeque Franchise de Du Verdier. 
Edition de Bigoley de Juvigny. Tome 2, page 485, art. Jean Ostaus. 

1319 — Ostaus, Giovanni. — La vera perfettione del disegno di uarie sorti di ricami, 
& di cucire ogni Sorta di punti a f ogliami, puti tagliati punti a fill & rimes- 
si, puti incroaciati, Puti a struora & ogn' altra arte, cue dia opera a di- 
segni. Fatto nouamete per Giouanni Ostaus. Vittoria. [Mark, with motto 
Ego sum via et Veritas.] Con gratia & priuilegio dell' Illustriss. Senato 
Venetiano per Anni X. In Venetia, appresso Giouanni Ostaus. 1564. 
[Dedication to Signora Lucretia Contarino.] 8°. Cuts. B. K. M. 

1320 — Ostaus, Giovanni — La vera perfettione del disegno, di varie sorti 
di ricami, et di cucire ogni sorte di punti a f ogliami, punti tagliati. 
punti a fili, et rimessi, punti nicrociati, punti a stuora, et ogn'altra arte, 
eke dia opera a disegni. Fatto Nuovamente per Giovanni Ostaus. Vit- 
toria. Con gratia et privilegio dell' Illustriss. Senato Venetiano per anni 
X. In Venetia appresso Giovanni Ostaus, 1567. In 4° oblong. Sur 
ce titre un medaillon ovale, contenant une femme debout de trois quart a 
droite, la tete presque de face, tenant d'une main sa jupe, de 1 'autre un 
cceur enflamme. Au fond la mer sillonnee de vaisseaux. A gaucke un 
tertre avec un tronc d'arbre. On lit autour de cette figure diverses in- 
scriptions et sur un livre ouvert en bas a gaucke a, ses pieds : Dum tempus 
abemus oferemur Bonum. Sur la bordure du medaillon : Ego sum via et 
Veritas. Dedicace: Alia clarissima signora Lvcretia Contarini. Une let- 
tre i gravee sur bois. Verso, une gravure sur bois representant Lucrece 
Bomaine entouree de ses femmes. A droite un guerrier dans une porte. 
Signee en bas a gaucke dans l'interieur du dessin : Jose Sal. 1557. ( Josepk 
Salviati, plus connu sous le nom de Porta Garfagnino). Deux sonnets en 
regard l'un de l'autre. Celui de gaucke, Alia Clairissima signora Lucretia 
Priuli. Celui de droite : Sonetto alle saggie et Virtuose donne. Verso, 
preface aux lecteurs : Alii saggi et giuditiosi lettori. La derniere page non 
cotee mais numerotee LXXIX a au verso un fleuron qui est le meme, que 
celui que porte le titre avec en kaut les mots A B C D E Tutti sono qua- 
derni. Et on bas : Stampato in Venetia per Giovanni Ostaus, 
MDLXVII (1567). 73 planckes de broderies. Cet ouvrage est certaine- 
nient un des plus beaux et des plus interessants de cette serie. On y trouve 
des modeles pour tous les genres de travaux a 1 'aiguille. On remarque 
parmi les planckes des sujets mytkologiques, des grotesques, des rinceaux 
d'ornements, des f rises, des scenes de ckasse, des paysages, le tout d'un 
gout exquis. Trente-deux planckes seulement ont trait aux broderies. 
Vente Benedetto Maglione, Paris 1894, Vente Pirovano, Rome, 1901. Vente 
Destailleurs, 1895. 

1321 — Ostaus, Gio. — Le Vera Perfettione del disegno di varie sorti di Recami et 
di cucire, punti a fogliami, punti tagliati, punti a fili, et rimessi punti 
in crusiati, punti a stuora, et ogni altra arte eke dia opera a disegni. 35 



332 A LACE GUIDE FOR MAKERS AND COLLECTORS 

designs for lace, etc. Facsimile reprint of the original edition of Venice, 
1567. Small oblong 4to. Venice, 1878. Ongania. Metro. Mus. S. K. M. 

1322— Ostaus, Gio.— [Another edition.] 1584. See Valvassore. See 1320. 

1323 — Ostans, Gio. — [Another edition.] La vera perfettione del disegno di varie 
sorte di ricami & di cucire ogni sorta di pnnti a fogliami . . . E di 
nnouo agginntoni varie sorti di merli, e mostre che al presente sono in vso 
& in practica. InVenetia, Appresso Francesco "di Franceschi Senese all' 
insegna della Pace. 1591. Registro ABODE. Tutti sono quaderni. In 
Venetia, MDXC. The edition of 1564 is the earliest hitherto described. 
See 1320. V. & A. M. 

1324 — Ostans, Giovanni — La vera perfezione del Disegno per punti e ricami. Re- 
produced under direction of Elisa Ricci. Bergamo, 1909. 

1325 — Osterreichisches Museum (K. K.) Genahte Spitzen. Bordure XVI. 
Jahrhundert. Blaetter fiir Kunstgewerbe, 1875, Vienna. 

1326 — Osterreichisches Museum (K. K.) Original Stickmuster der Renaissance, 
etc. 2d edition, Vienna, R. v. Waldheim, 1880. 

1327 — Osterreichisches Museum (K. K.) Tauftuch, XVII. Jahrhundert aufge- 
nommen von Marianne Fiirst (filet brode). Blaetter fiir Kunstgewerbe, 
1876, Vienna. 

1328 — Osterreichisches Museum (K. K.) Venetianische Musterblatter aus dem 
XVI. Jahrhundert fiir Passementerie- Arbeiten und verwandte Techniken 
(Le Pompe, Venice, 1562, Lib. II). Vienna. 

1329 — Oswald — Manufacture Royale de Dentelles de Bruxelles. 

1330 — Ouvrieres en dentelles dans l'Erzgebirge, en Saxe. Magasin Pittoresque, 
1848. 

1331 — Overloop, E. van — Au Pays de la Dentelle (Belgique). (Album de la 
Dentelle. Exposition, Liege, 1905). Numero special de La Dentelle, Paris, 
1905. 

1332 — Overloop, Eugene van — Catalogue des Ouvrages se rapportant a l'lndus- 
trie de la Dentelle. Brussels, Hayez, 1906. 

1333 — Overloop, Eugene van — Dentelles anciennes des Musees Royaux des Arts 
Decoratifs et Industriels a Bruxelles. Brussels, Grau Oest & Cie., 1911. 
100 plates, folio. 

1334 — Overloop, Eugene van — Dentelles de la Collection Alfred Lescure. Brus- 
sels, Grau Oest & Cie, 1914. 

1335 — Overloop, E. van — Materioux pour servir a l'histoire de la dentelle en Bel- 
gique, 1908. 

1336 — Overloop, E. van — Musees Royaux du Cinquantenaire. Industries d'Art 
Brussels, 1906. 

1337 — Overloop, E. van — Nos Collections de Tissus, de Broderies et de Dentelles. 
Bull. Musees Royaux des Arts decoratifs et industriels. October, 1903, 
Brussels. 

1338 — Overloop, E. van — Nos Dentelles. Bull, des Musees Royaux des Arts 
decoratifs et industriels, April, 1904, Brussels. 

1339— Owen, Mrs. H— Ilium. Book of Needlework ; comprising Knitting, Net- 
ting,Crochet, and Embroidery. Plates. 8vo. London, 1847. S. K. M. 



BIBLIOGRAPHY 333 

1340— P., A. E.— Allerhand Model zuni Stricken und Nahen. 1 Tlieil. 24 plates 
signed A. E. P. (also Sampler Alphabet.) Obi. sm. Fol. n.p. 1748. S. 
KM. 

1341 — Pagan, Matheo — Giardinetto nuovo di pnnti tagliati et gropposi per exer- 
citio et ornamento delle Donne. Alle belle et vertudiose (sic) donne 
Matheo Pagan. Venise, 1543. Un volume in-4°. 24 feuillets sur bois, 
modeles de broderies. Collection du baron Davillier. 

1342 — Pagan, M. — Giardinetto novo di pvnti tagliati Et gropposi per exercitio et 
ornamento delle donne. Au-dessous de ce titre un medaillon ovale, avec 
une bordure dans laquelle on lit: Senza di me l'huom fassi a dio riballo. 
Dans l'interieur du medaillon une figure de femme representant la Foi. 
Elle est agenouillee de profil a droite, tenant des deux mains devant elle un 
calice surmonte d'une hostie. Pres d'elle la croix, dans le fond un soleil 
rayonnant, a gauche un rideau. An verso de ce titre, une dedicace : Alia 
Signora Lucretia Eomana Matio Pagan salute. Puis commencent les 
Broderies. Au verso un sonnet, conmiengant par les mots : Alle belle et 
virtvose donne Mattio Pagan. Au- dessous du sonnet: Stampato in Ve- 
negia per Matthio Pagan in Frezaria, in le case noue il qual tien per in- 
segna la Fede MDXLIIII (1544). En resume, 24 feuillets, dont un titre et 
44 dessins de broderies. In-4°. Bibliotheque Nationale. 

1343 — Pagan, Mathio — Giardinetto novo di punti tagliati et gropposi per exer- 
citio et ornamento delle Donne. A la fin : Stampato in Venetia per Mathio 
Pagan,1548. 

1344 — Pagan, M. — Giardineto novo di Punti tagliati et gropposi, per esurcitio et 
ornamento delle donne. At the end, Venetia, Mathio Pagan in Frezzaria, 
in le case nove (tien per insegna della Fede) MDLI. Dedication, Alia sig- 
nora Lucretia, Eomana Mathio Pagan, salute. Florence. M. Bigazzi. 

1345 — Pagan, Mathio — Giardinetto novo di punti tagliati et gropposi per exer- 
citio et ornamento delle donne. A la fin : Stampato in Venegia pel' 
Matthio Pagan, in Frezaria in le case nove il qual tien per insegna la Fede, 
MDLIV. 

1346 — Pagan, Matthio — Giardinetto novo, etc. (Same as 1345). 1556. Vente 
Bancel. 

1347 — Pagan, Matthio — Giardinetto novo di Punti Tagliati Et gropposi per exer- 
citio et ornamento delle donne. A la fin : Stampato in Venegia per Mat- 
thio Pagan, in Frezaria, in le case noue il qual tien per insegna la Fede, 
MDLVII (1557). Une edition de 1558. Vente Piot, 1891. 

1348 — Pagan, Matthio — La gloria e l'honore de Ponti Tagliati e ponti in aere, 
opera noua, Et con somma diligentia posta in luce. In Venetia per Mathio 
Pagano in Frezzaria, all' insegna Delia Fede, MDLIIII (1554). Petit in- 
4°. Ce titre est inscrit au haut de la page dans un cartouche entoure de 
cuirs et suspendu par un anneau a. un fronton architectonique, supporte 
par deux colonnes. En bas, entre ces colonnes, un paysage dans lequel on 
voit trois femmes. Celle du milieu debout entre ses deux compagnes tient 
a la main une bande de broderie. Les deux autres assises s 'occupent a des 



334 A LACE GUIDE FOR MAKERS AND COLLECTORS 

travaux d 'aiguille. Gravure sur bois. Au verso, dedicace: All. illvstriss: 
et excellen. signora, la signora Vittoria Francese Duchessa d'Vrbino, dig- 
nissima Matthio Pagano Sal. Au bas de cette dedicace la date : Di Vene- 
tia, alii XXV, di maggio, MDLIIII (1554). Page non cotee. Au verso de 
cette feuille la marque de l'imprimerie de Matbio Pagan. C'est un medail- 
lon ovale dans la bordure duquel on lit: Senza di me l'Huom Fassi a dio 
Eibello. Dans 1' interieur du medaillon une figitre de fern me representant 
laFoi. Elle est agenouillee de profil a droite, tenant des deux mains devant 
elle, un calice surmonte d'une bostie. Pres d'elle la croix. Dans le fond 
un soleil rayonnant. A gaucbe une draperie. Magnifique gravure sur bois, 
du style le plus pur. En resume 16 feuillets, dont 29 plancbes de broderies. 
Dans un des catalogues de la librairie Eabir. on lit. Exemplaire precieux 
dans la couverture originale de publication. Le premier plat de la cou- 
verture est orne d'un grand bois representant l'interieur d'un magasin de 
dentelles a Venise au xvi° siecle. Le deuxieme plat porte un autre bois 
representant le pouvoir de 1 'amour. Ces deux bois accompagnes de legendes 
et d 'inscriptions xylograpbiques, sont compris dans de larges bordures. 
Vente Piot, 1891. 

1349 — Pagan, Mattbio — La gloria et l'bonore di Ponti Tagliati a fogliami, delli 
quali tu potraif are ponti in aere ponti in stiora a fogliami : opera nova 
et con somma diligentia posta in luce. In Venetia per Matbio Pagan, in 
Frezzaria all' insegno della Fede, 1556. In-4°. La presente edition ne dif- 
fere de la precedente que par l'enonce du titre et le millesime. Vente Ban- 
eel, 1882. 

1350 — Pagan, M. — La Gloria et 1' bonore de ponti tagliati et ponti in aere Ve- 
nezia per Matbio Pagan in Frezzeria al segno della Fede. 1558. 16 plates. 
Dedicated to Vittoria Farnese, Ducbess of Urbino. Cat. Cicognara. 

1351 — Pagan, M. — La Gloria et L'Honore de Ponti Tagliati, e Ponti in Aere, 
Opera noua & con somma diligentia posta in luce. In Venetia per Matbio 
Pagan in Frezaria al segno della Fede. M. D. LVIII. Fo. Title, dedi- 
cation, 16 ff. (Quaritch reproduction.) Said to be from tbe only copy 
known (1884). 

1352 — Pagan, M. — L'bonesto Essempio del vertuoso desiderio cbe banno le 
donne di nobile ingegno circa lo imparare i punti tagliati e fogliami. In 
Venetia per Matbio Pagan in Frezaria al segno della Fede, M.D.L. In 
tbe V. and A. Museum is a copy dated 1550. Quoted by Cav. Merli. See 
Mrs. Bury Palliser's bibliograpby. 

1353 — Pagan, Mattbio — L'bonesto essempio del vertuoso desiderio cbe banno 
le donne di nobile ingegno. Punto tagliato a fogliami. Venice, 1878. Be- 
print of edition of 1550. 31 plates of patterns. Metro. Mus. 

'1354 — Pagan, Mattbio — L'bonesto essempio del uertuoso desiderio cbe banno 
le donne di nobil' ingegno circa lo imparare i punti tagliati a fogliami. 
In Venetia per Matthio Pagan in Frezzaria al segno della Fede, MDLIII 
(1553). Au-dessous de ce titre une marque d'imprimeur rectangulaire, 
dont l'interieur est a quatre lobes et sur la bordure ovale interieure de 
laquelle on lit: Senza di me l'Huom Fassi a Dio ribello. Dans le milieu 
des quatre lobes, un paysage ou l'on voit une femme se dirigeant vers 1^ 



BIBLIOGRAPHY 335 

droite la tete de trois quart a gauche. D 'une main, elle tient un caliee 
surmonte d'une hostie, de 1 'autre une croix sur la branche horizontale de 
laquelle on lit le mot: Fede. Au verso d'une page, dans un medallion 
ovale, la Foi de profil a droite a genoux, tenant des deux mains un caliee, 
surmonte d'une hostie. La sainte croix est par terre a cote d'elle. Sur 
la bordure du medallion on lit: Senza di me l'Huom Fassi a Dio ribello. 
En tout 16 feuillets dont 24 planches de broderies. Bibliotheque Na- 
tionale. 

1355 — Pagan, Matthio — L'honesto essempio del uertuose desiderio, che hanno 
le donne di nobil' ingegno circa Io imparare i punti tagliati a fogliami. 
In Venetia per Matthio Pagan in Frezaria, al segno della Fede, 1556. 
In-4°. Meme titre que dans 1 'edition precedente, n° 110. Eien au verso. 
Ensuite 29 planches disposees sur 14 feuillets et le recto du dernier feuil- 
let. Elles representent de magnifiques modeles tous differents de ceux 
qu'on voit dans l'edition ci-dessus. Le verso du dernier feuillet contient 
la figure qui se trouve sur le titre de l'edition de 1553 citee ci-dessus n° 
110 et qui etait la marque typographique de l'editeur Pagan. 

1356 — Pagan, Matthio — Opera nova di varie disegni, utili a ciascheduna persona 
laquale si diletti de cusire, recchamare e designare intitulata: Specchio 
di vertu. In Venetia, per Matthio Pagano in Frezzaria, all insegna della 
Fede, 1554. In-4°. Get ouvrage curieux doit etre une edition tres aug- 
mented de "II specchio di pensieri" publie a Venise en 1540. II est orne 
d'un titre grave, sur lequel on remarque quatre figures sur bois. La pre- 
miere represente un gen til horn me faisant l'achat d'une broderie; la sec- 
onde une ouvriere travaillant le tissu a broder sur un metier de basse lisse ; 
la troisieme des ouvrieres occupees a broder au crochet, la quatrieme 
une marchande en inspection chez ses ouvrieres. Ces figures nous fournis- 
sent des renseignements curieux sur l'industrie de la broderie a cette 
epoque. Le volume contient en outre 23 ff. imprimes ou se trouvent des 
modeles de dessins de guipures et de points coupes du plus beau style 
Italien. Cette edition comprend done en tout 24 ff. Elle est de la plus 
grande rarete, car ni Brunet, ni ses continuateurs n'en font mention. 
Vente Bancel, 1882. 

1357 — Pagan, M. — Opera nova composta per D. da S. detto il Franciosino; 
dove si insegna a tutte le nobili et leggiadre giovanette di lavorare di puti : 
Cusire; Eecamare, et far tutte qlle belle opere, etc. Venegia, M. Pagan, 
1546. Facsimile reprint, Ongania, Venezia, 1879. S. K. M. Metro. Mus. 

1358 — Pagan, Matthio — Ornamento delle belle & virtuose Donne, opera nvova 
nella quale trouerai varie sorti di frisi, con li quali si potra ornar cias- 
cuna donna & ogni letto con ponti tagliati, ponti gropposi, & ogni altra 
sorte di ponti, per far tutte quelle bella opera che si appartengono alle 
virtuose & Lodenoli Fanciulle. In Venetia, MDXLIIIL Petit in-4°. Ce 
titre est inscrit dans un motif grave sur bois, et le meme qui est decrit ci- 
dessus. Verso, une dedicace: Alle virtuosiss. Sorella et nobiliss. 
Gentildonne di Candia. Petronilla et Catarina d'armer, Mattio Pagano 
Salute. Madonne, Mattio Pagan. Au-dessous de cette piece de vers: 
Stampato in Venetia per Mattio Pagan. In Frezeria in le casa nuova, il 



336 A LACE GUIDE FOR MAKERS AND COLLECTORS 

qual tien per insegna, La Fede. En tout 24 feuillets, contenant un titre 
et quarante-ciuq planches de broderies imprimees au recto et au verso. Au 
verso d'une page, une piece de vers commencant par les mots: Alle Belle 
et Virtuose. Bibliotheque Natiouale. 

1359 — Pagan, Mathio — Ornamento delle belle et virtuose donne, Opera nvova 
nella quale trouerai varie sorte di frisi con liquali si potra ornar ciascuna 
donna et ogni lettra con ponti tagliati, ponti gropposi, e ogn'altra sorte 
diponti per far tutte le belle ope re eke si appertengono alle virtuose et 
Lodeuoli Fauciulle. Petit in-4°. In Venetia per Mathio Pagano, in Frez- 
zaria, all', insegna della Fede, 1554. Titre, preface, 45 planches et une 
pour la souscription. Catalogue Tross, 1867. 

1360 — Pagan, Mathio — II specchio di peusiere delle belle et Virtudiose donne, 
dove si Vede varie sorti di ponti, cioe Ponti tagliati, ponti groposi, ponti 
in Rede, a ponti in stiora, MDXLI1II (1544). Stanrpato in Venetia per 
Mathio Pagan. In Frazaria in le case noue qual tien per insegna: la 
Fede. (Je titre est inscrit sur une draperie hottante, fixee en haut par 
trois clous, et encadree dans deux bandes rectangulaires horizontales et 
deux bandes rectangulaires verticales. Dans la bande horizontale supe- 
rieure on remarque au milieu, deux mains se tenant serrees l'une l'autre et 
surmontees du mot Fede. Dans la bande horizontale du bas on voit une 
femme assise de trois quart a droite, accoudee sur un vase et tenant d'une 
main un calice surmonte d'une hostie, de l'autre une croix appuyee sur 
son epaule. Les deux bandes verticles renferment des modeles de bro- 
deries au point compte. Page non cotee, verso. A droite de ce verso un 
vase. A gauche une femme posant une couronne sur la tete d'un jeune 
homme agenouille, les mains jointes. Page non cotee, verso, deux mains 
jointes l'une dans l'autre dans le bas de la broderie. Page non cotee. 
Une sirene au bas d'une broderie. Verso, au bas des broderies a gauche 
une femme, a droite un page, tous les deux tenant une fleur gigantesque. 
Page non cotee, verso. Une femme personnifiant la foi, agenouillee de 
profil a gauche au pied d'une croix. Elle a une main posee sur sa poitrine, 
de l'autre elle eleve en Pair, au-dessus de sa tete un calice. Dans le fond 
et se detachant sur le ciel, le mot Fede. En resume 16 feuillets, dont un 
titre, et 29 planches de broderies. Bibliotheque Naticnale. 

1361 — Pagan, Matthio — II specchio di pensieri delle belle et virtudiose donne 
dove si vede varie sorti di ponti, cive Ponti tagliati, punti gropposi, ponti 
in Rede, et ponti in stiora, MDXLVIII (1548). Stampato in Venetia per 
Mathio Pagan, in Frezzaria, in le case nuove qual tien per insegna, la 
Fede. In-4°. 16 feuillets. Mentionne dans la bibliographie du marquis 
d'Adda. Rome, Bib. Prince Massimo. 

1362 — Pagan, M. — II, Spechio di Pensieri della Belle et Virtudiose Donne, dove 
si vede varie sorti de Ponte, cioe Ponti Taliati, Ponti Groposi, Ponti in 
Rede e Ponti in Stiora. Venet. M. Pagan. 1550. 4°. Cuts. 16 leaves. 
Vente Pirovano, Rome, 1901. 

1363 — Paganino, Alex. — Burato, con nova maestria gratiose donne. 
Novo artificio vi apprto. Accio eke voi piu 
Accommodatamente possiati mostrare quanto valglia. 



BIBLIOGRAPHY 337 

Lo ingegno vostro ne lavori, e ornainenti de camise et 
Aletri rechami questo sie eke da questo artificio 
Potreti sempre cavare con la peima tute quante 
Quelle cose come figure fiori ; et altri omamati clie 
Voi voretti cavare. Avertedovi che quelle tele piu 
Large serve a cauare ponti scritti. Opera certamente 
Non esser stata piu in luce et che a voi sera di 
Grandissima facilitta a i vostri lauori piu clie alcuna 
Altra che per sin aqui sia fatta come voi medesimi 
Vedretti operandola. 
Petit in-4°. Au-dessous de ce titre une gravure sur bois d'un faire assez 
grossier entouree d'un trait car re et d'un filet. On voit quatre femmes 
dans une chambre, occupees a cliff erents travaux. Au fond, une d'elles est 
derriere un metier a haute lisse, une autre a gauche au premier plan tra- 
vaille a un petit metier a rubans place devant elle sur une table. Une troi- 
sieme a clroite au premier plan, de profit a gauche, est en train de coudre 
une etoffe posee sur ses genoux. 33 planches, quelques unes portant seu- 
lement un quadrillage destine a etre rempli, d'autres avec quelques figures 
tracees. P. Alex. Pag. Benacenses. F. Bena. V. V. (Toscolano. Alex. 
Paganini, vers 1525.) Vente Benedetto Maglione, Paris. 1894. Vente 
Pirovano, Borne, 1901. Foulc Sale, Paris, June, 1914, No. 457. 
1364 — Paganino, Alex. — Burato . . . questi sono quattro fogii, con mostre, di 
tela chiara, a quadretti, per fare opera di punto in varie larghezze ove 
marcata graclamente 1 'opera piu o meno fitta ... P. Alex. Pag. 
(Paganinus.) Benaccensis F. Bena. V. V. Sans date. Catalogue Cicog- 
nara. 
1364a — Paganino, Alex. — II Burato — Libro cli ricarni. Reproduced under direc- 
tion of Elisa Bicci. Bergamo. 
1365 — Paganino, Allesandro — Libro primo di rechami p. elquale se impara in 
diuersi modi l'ordine e il modo de recamare cosa non mai piu fatta ne 
stata mostrata, el qual modo se insegna al lettore soltando la carta. Opera 
noua. Ce titre est circonscrit par une composition ou Ton voit en haut 
un entablement demi-circulaire posant sur deux colonnes, surmontees cha- 
cune d'une petite figure de femme, brodant a 1 'aiguille. Au milieu un 
homme travaillant a un petit metier qu'il tient des deux mains appuye 
sur son genou. En bas de la composition et au-dessous clu titre, deux fem- 
mes travaillant l'une a droite a. un metier de basse lisse, 1 'autre a, gauche 
a un petit metier a rubans pose devant elle sur une table. Elle est assise 
sur une chaise de trois quart a droite. Dans les medaillons ronds qu'on 
voit au milieu des colonnes, deux tetes a, la Bomaine se faisant face. 
Dedicace: Allessandro Paganino al lettore. Suite de la dedicace. 
Verso, fin de la dedicace. Dans le bas de ce verso, quatre femmes, 
chacune dans un compartiment forme par une arcade et travaillant a 
des travaux d 'aiguille. En haut a gauche, e'est une femme assise a un 
metier, une chandelle a ses pieds. A droite une femme travaillant a un 
metier, pose debout devant elle. En bas a gauche une femme poncant 
un moclele. A droite une femme deoalquant un dessin. Page non cotee. 



338 A LACE GUIDE FOR MAKERS AND COLLECTORS 

— Au verso on lit: P. Alex. Pag. Benacenses. F. Bena, V.V. Vente Piro- 
vano, Roma, 1901, catalogue n° 384. Bibliotheque Nationale. 

1366 — See 1365 — Libro seeondo di rechaini p. el quale se impara in diuersi modi 
ordine e il modo de recamare cosa non mai piu fatta ne satta mostrata, 
el qual modo se insegna al lettore voltando la carta. Opera Noua. Meme 
titre, meme gravure Frontispice que ci-dessus. v Verso, meme dedicace. 
Aij, verso meme gravure sur bois. Page non cotee. Au verso de cette 
derniere page on lit: P. Alex. Pag. Benacensis. F. Bena, V. V. 

1367 — See 1365 — Libro terzo de rechami ... & Nous savons que cette troi- 
sieme partie existe, mais ne l'ayant jamais vue nous ne l'indiquons ici 
que pour memoire. 

1368 — See 1365 — Libro quarto de recbami, p. elquale se impara in diversi modi 
1 'ordine e il modo de recamare cosa non mai piu fatta ne stata mostrata, 
el qual modo se insegna al lettore vol tando la carta. Opera noua. In-4°. 
Meme description que le n° ci-dessus decrit. Un cabier de 20 feuillets 
avec signature. AAAAI, AAAAX, meme titre, meme lettre de Paganino, 
et meme figure au verso du 2° feuillet que pour le Livre Primo. Suivent 
imprimes au recto des feuillets, 18 superbes modeles de travaux a l'ai- 
guille graves en bois d'un genre absolument different de ceux qui se trou- 
vent dans le Libro Primo. A la fin : P. Alex. Pag. Benacenses. F. Bena. 
V. V. s. d. Vente Pirovano, Eoma. 1901. Foulc Sale, June, 1914. Paris, 
No. 457. 

1369 — Paganino, A. — Libro Primo. De recbami p elquale se impara in diversi 
modi lordine e il modo de recamare, cosa no mai piu fatta ne stata mos- 
trata, el qual modo se insegna al lettore voltando la carta. Opera noua. 
[On last page] P. Alex. Pag. Benacenses. F. Bena. V. V. 4°. 2 pp., 
31 leaves of cuts. (1527.) (Ongania reproductions.) S. K. M. 

1370 — Paganino, A. — Libro Seeondo . . . Burato. 4°. Title and 20 leaves 
of cuts. (1527.) (Ongania reproduction.) See 1366. 

1371 — Paganino, A — Burato — Libro Terzo. 4°. Title and 20 leaves of cuts. 
(1527.) (Ongania reproduction.) See 1367. 

1372 — Paganino, A. — Burato — Libro Quarto. 4°. Title and 20 leaves of cuts. 
(1527.) (Ongania reproduction.) See 1368. 

1373 — Paganino, Alex. — Liber Primo de recbami per el quale se impara in di- 
versi modi 1 'ordine e il modo de recamare, etc. 28 plates. Facsimile of 
tbe original of 15 — ?. 3 vols, in 1, royal 8vo. 

1374 — Paganino, A. — Libro questo di recbami per el quale se impara in diversi 
modi 1 'ordine e il modo de recamare, cosa non mai piu fatta n'e stata 
mostrata. By Alessandro Paganino. 20 plates, with a long explanation 
how these works are done. Eome, Bib. Prince Massimo. 

1375 — Pages, L. — Les Ecoles de dentelle. Le Cours de dessin de la Chambre 
Syndicale. La Dentelle, April, 1905, Paris. 

1376 — Pages, L. — Les grandes ecoles de dessin. (Album de la Dentelle. Ex- 
position, Liege, 1905.) Numero special de La Dentelle, April-September- 
October, 1905, Paris. 

1377 — Pairault, Mme. Veuve et fils — Facsimiles and reproductions of old pattern 
books. 



BIBLIOGRAPHY 339 

1378 — Paleograiia artistica nei codici cassinesi applicata ai lavori industriali, La 
— Merletti dalla Tav. 1 alia Tav. 20. Montecassino, 1888-1896. 

1379 — Palliser, Mrs. Bury — A descriptive catalogue of the lace and embroidery 
in the South Kensington Museum, with illustrations. London, 1871, 8vo. 

1380 — Palliser, Mrs. Bury — A descriptive Catalogue of the Lace in the South 
Kensington ^Museum. London, 1873. 14 plates, 73 pages. 2 edit. 

1381 — Palliser, Mrs*. Bury — Descriptive Catalogue of Lace in the South Kens- 
ington Museum. 3d edition, revised and enlarged by A. S. Cole, London, 
1881, G. E. Eyre & W. S. Spottiswoode, 21 plates, 144 pages. B. M. 

1382 — Palliser, Mrs. Bury — Guide to the ancient and modern Lace in the Inter- 
national Exhibition. London, 1874. 

1383 — Palliser, Mrs. Bury — Histoire de la Dentelle. Traduit par G-edeon de 
Clermont-Tonnere. Paris, 1892. 16 plates in color, 161 wood engravings. 

1384— Palliser, Mrs. Bury— History of Lace. All the Year, V. 36, pp. 249, 294, 
350. 

1385 — Palliser, Mrs. F. Bury — History of Lace. Eclectic Magazine, V. 65, p. 326. 

1386 — Palliser, Mrs. F. Bury — History of Lace. Every Saturday, V. 6, p. 201. 

1387— Palliser, Mrs. F. Bury— History of Lace. Living Age, V 98, p. 535. 

1388— Palliser, Mrs. F. Bury— History of Lace. Quarterly, 125 :166. 

1389 — Palliser, Mrs. Bury — History of Lace. London, C. Low, Son & Marston, 
1865. 460 pages, 17 plates, 1 port. 

1390 — Palliser, Mrs. F. Bury (Fanny Marryat) — A History of Lace. London, 
Sampson, Low, Son & Marston, 1869. 422 pages, 17 plates, 2nd edition, 

1391 — Palliser, Mrs. F. Bury — A History of Lace. 3d edition, London, 1875. 

1392 — Palliser, Mrs. F. Bury — A History of Lace, entirely revised — by M. Jour- 
dain and Alica Dryden. London, Sampson Low, 1902. B. M. 

1393 — Palliser, Mrs. Bury — Lace. The Magazine of Art, November, 1878, Lon- 
don, V. 1, p. 179. 

1394 — Palliser, Mrs. F. Bury — Lace. Quarterly Review, July, 1868. 

1395 — Palliser, Mrs. F. Bury — Notes on the History of Lace, to which is added 
a Catalogue of Specimens of Lace Selected from the Museum at South 
Kensington, etc. London, 1872, 8vo. 

1396 — Palliser, Mrs. Bury — Report on Lace, Net, Embroidery and Smallware 
Manufactures, Class 33. (Paris, Univ. Exhibit., 1867.) Vol. 3, p. 109. 
7 vols., 8vo. London, 1868-69. 

1397 — Palliser, Mrs. F. Bury — Reports of the U. S. Commissioners, Lace, Net, 
Embroidery and Trimmings, Vol. 3, p. 109, 6 vols., 8vo, Washington, 1870. 
S. K. M. 

1398 — Parasole, Elisabetta Catanea — Fior d'ogni Virtv per le nobile et honeste 
matrone, doue si verdono bellissimi lauori di ponto in aria, reticella, di 
maglia et a piombini dissagnati, da Isabetta Catanea Parasole. In 
Roma apresso Antonio Fachetti. MDCX (1610). Con Licenza de su- 
periori. In-4° oblong. Au-dessus de l'adresse de l'editeur les armes 
d'Espagne, surmontees d'une couronne. Autour de l'ecusson qui conti- 
ent ces armes, 22 petits drapeaux piques dans cet ecusson, 11 de chaque 
cote. Rien au verso. Les pages sont numerotees en haut a droite en chiff- 
res arabes, et il y a l'explication de chaque dessin. 2 Dedicace: Alia se- 



340 A LACE GUIDE FOB MAKERS AND COLLECTORS 

renissirua Princepessa Donua Elisabetta Borbona d 'Austria, Principessa 
Spagna, 14 lignes se terminant par les mots: Di Eoiua a di 5 di niarzo 
1610. Elisabetta. Catanea Paras ole. Puis les broderies. Au-dessous les 
memes armes que sur le titre et au-dessous : Stampato in Roma appresso 
Autonio Fachetti MDCX. 37 tres beaux modeles de dentelles et de bro- 
deries, coins de moueboirs et autres objets de lingerie. Vente Destail- 
leurs, 1895. 

1399 — Parasole, Isabella C. — Modeles de dentelles et de broderie. Sans lieu ni 
date. In-4° oblong, cartonne. 31 planches (B-H par 4, I par 3). Ces 
planches font sans doute partie d 'un ouvrage publies par Isabella C. Para- 
sole. Foulc Sale, Paris, June, 1914, No. 461, frs. 180. 

1400 — Parasole, Isabetta Catanea — Pretioso Gemma Delle Virtuose Donne Doue 
si vedono bellissimi lauori di punto in aria, reticella, di maglia, e piombini, 
disegnati da Isabella Catanea Parasole. E. di nuouo dati in luce da 
Lucchino Gargano, con alcuni altri bellissimi lauori nuouamente inuentati. 
Stampata in Venetia, Ad instantia di Lucchino Gargano. M. D. C. Con 
Licenza de' Superiori. 4°. Title, dedication, 18 leaves of cuts. 

1401 — Parasole, Isabelle Catanea — Pretiosa gemma delle virtuose dame. Done 
si vedono bellissimi lauori di punto in aria, reticella, di maglia e piom- 
bini, desegnati da I. C. Parasole. E di nuovo dati in luce de Lucchino 
Gargano, 1618, con alcunti altri bellesimi lauori monamente inuentati. 
Venice, L. Gargano, 1600. Reprinted in Venice, 1879. S. K. M. Metro. 
Mus. 

1402 — Parasole, Isabella Catanea — Secondo Libro della Pretiosa Gemma Delle 
Virtuose Donne. Doue con nuoua inuentione si vedone bellissimi Lauori 
di varie sorti di Merli grandi, e piccioli, punti in aria, punti tagliati, punti 
a reticello, e Rosetti diuersi, che con l'aco si vsano hoggidi per tutta 
Europa. Nouamenta dato in luce da Lucchino Gargano. Stampata in 
Venetia, Ad instantia di Lucchino Gargano, MDCI. 4°. Title, dedica- 
tion, 17 leaves of cuts. (Ongania reproduction.) 

1403 — Parasole, I. C. — Gemma pretiosa delle virtuose donne, dore si vedono 
bellisimi lavori de Ponti in Aria, Reticella, di Maglia, e Piombini diseg- 
natida Isabella Catanea Parasole. In Rome, appreso Guliegno Facciotti, 
1625. 4°. Title and 34 cuts. B. K. M. 

1404 — Parasole, Isabella Catanea — Specchio delle virtuose done. Venice, 1594 
and Rome, 1595. 

1405 — Parasole, Isabella Catanea — Specchio delle virtuose donne. Done si ve- 
dono bellissimi lavori di punto in aria, reticella, di maglia e piombini, 
designati da Isabella Catanea Parasole. Roma, appresso Antonio Fac- 
chetti, 1598. In-4° oblong, 1 feuillet de titre, 30 feuillets de modeles. 
Vente Foulc. 

1406 — Parasole, E. C. — Specchio delle virtuose donne. Dove si vedono bellis- 
simi lavori. di ponto in aria, reticella, di maglia et piombini. Disegnati 
da Isabetta Catanea Parasole. Roma, appresso Antonio Facchetti, 1598. 
One volume in-4°, oblong cartonne. Un feuillet de titre, un feuillet blanc 
et 38 feuillets chiffres contenent autant de modeles de dentelles, broderies, 
coins de moueboirs, etc. Foulc Sale, Paris, June, 1914, No. 459, Frs. 500. 



BIBLIOGRAPHY 341 

1407 — Parasole, Isabella Catanea — Studio, Delle Virtuose, Dame, Doue si ve- 
dono bellifsirai lauori di puuto in aria reticella, di maglia. DifTeganti da 
Ifabetta Catanea Parafole. In Roma, Appreffo Antonio Faccbetti. 
M.D.XCVII. Con Licenza De' Superiori. 4°. 36 leaves consisting of title 
page, 2 dedications (In Spanish and Italian) To Dona Joana de Aragon y 
Cordona, whose coat of arms is on the title page. 33 plates This is the 
only copy known of the original edition. Stranges Trans. Bib. Soc. 
VII. 254-257. Metro. Mus. 

1408 — Parasole, Isabella Catanea — Studio delle virtuose dame; Roma, Antonio 
Fachetti, 1597. Quaritch's reprints of rare books, II. London, 1884. 
obi. 12°. 

1409 — Parasole, Isabetta Catanea — Studio delle Virtuose Dame. Doue si vedo- 
no bellissimi lauori di punto in aria, reticella, di maglia. Dissegnati da 
Isabetta Catanea Parasole. In Roma, Appresso, Antonio Facchetti. 
M.D.XCVII, Con Licenza de' Superiori. 4°. Title, 2 dedications (in 
Spanish and Italian). 33 if. S. K. M. 

1410 — Parasole, E. C. — Theatro delle nobile et Virtuose donne, dove si rap- 
presentano Varij Disegni di Lauori nouamente Inventati et disegnati da 
Elisabetta Catanea Parasole Romana. Ce titre est ornemente de la meme 
facon que celui de l'edition de 1616. La seule difference est dans la date 
de la signature 1636 au lieu de 1616 et clans la dedicace au recto de la 
page suivante : Al magnifico Giovanni Orlandi da Giacomo Marcucci, au 
lieu de: Alia Serenissima Principessa donna, & &. Ce titre est inscrit 
dans une tablette entouree de rinceaux, et au-dessus d'un socle en magon- 
nerie au milieu duquel on voit en bas clans un cartouche ovale, un buste 
de fernine, ayant autour du con une vaste fraise goudronnee. En haut au- 
dessus du titre au milieu, un ecus son armoirie. Get ecusson est dans un 
cartouche, sur lequel deux femmes sonnant de la trompette ont une main 
posee. De petitis genies, tenant Pun compas, Pautre une regie, une plume 
et un encrier agrementent cettfe composition gravee sur cuivre. En bas 
sur un rebord du socle qui supporte ce dessin, on lit a gauche: In Roma 
l'anno 1616, con Licentia de superiori. 

1411 — Parasole, E. C. — Teatro delle nobili et virtuose donne, dove si rappresen- 
tano varij disegni di lavori novamente inventati et disegnati da Elisabet- 
ta Catanea Parasole Romana. In-4° oblong. Dedicace: Alia serenis- 
sima Principessa Donna Elisabetta Borbona d'avstria, Principessa di 
Spagna . . . et finissant par les mots : Di Roma a di 5. di Marzo, 
1616. Other editions, 1620, 1625 and 1636. The last is dedicated to the 
Grand Duchess of Tuscany, and has the Medici and Delia Rovere arms in 
the title-page. Obi. 4to, 47 ff., 46 plates, beautifully executed, the titles 
printed to each plate, as "Lavori di punti in aria, Merletti di ponti reti- 
cella, Merletti a piombini," etc. Chacune des broderies imprimees seule- 
ment au recto des pages, porte en haut 1 'indication du genre de travail 
qu'elle represente. Apres la planche 50, une page non cotee. C'est une 
grande planche repliee en trois, dite : Le grand mouchoir. Vente Santa- 
relli. Vente Benedetto Maglione Paris, 1894. Une edition de 1619, vente 



342 A LACE GUIDE FOR MAKERS AND COLLECTORS 

Piot, 1891. Florence, Bib. Prof. Saiiterelli. Milan, Bibliotheque de 
l'Ambroisienne. Rome, Bibliotheque de Prince Massimo. 
1412 — Parasole, Isabella Catanea — Teatro delle nobili et virtuose dame dove si 
rappresentano varij desegni di lauori bonamente inventati et disegnati da 
I. C. Parasole. Eoma, 1616. Reprinted in Venice, 1891, by Ongania. 
1413 — Parasole, E. C. — Tbeatro delle nobili et virtuose donne dovi si rappresen- 
tano Varij disegni di Lauori nouamente inventati et disegnati da Elisa- 
betta Catanea Parasole Romana. In Roma l'anno 1620. In-4° oblong. 
Frontispice grave au burin avec les armes de Medicis et de la Rovere 
plusieurs fois repetes dans un cartouche avec des amours dans les poses 
les plus charmantes et d'un si beau style que nous inclinons fort a croire 
qu'il fut execute au siecle precedent pour un tout autre ouvrage. On y 
trouve la devise: Nisi canant qui fortia quid isti gerunt. In Roma l'anno 
1620. Mauritio Bona in Piazza Navona. 49 feuillets dont deux pour le 
titre et la dedicace. La grande planche de la fin, repliee en trois est un 
vrai chef-d'oeuvre de xylographie. Les planches sont au nombre de 45, 
imprimees au recto seulement. Foulc collection accounted for only 40 
plates, June, 1914. Paris, No. 460, frs. 600. 
1414 — Paris — Souvenir de 1 'Exposition de 1839. Par J. Dumas. Fol. Paris, 

n. d. S. K. M. 
1415 — Paris Exhibition, 1855 — Reports. French. Reports du Jury mixte inter- 
national. (Dentelles, Vol. 2, p. 1100.) 2 vols. 8vo. Paris, 1856. S. K. M. 
1416 — Paris Exhibition, 1867 — Reports. French, Dentelles, Tulles, Broderies 

et Passementeries. Vol. IV., p. 231. 13 vols. 8vo. Paris, 1868. S. K. M. 
1417 — Paris Exhibitions, 1878 — Rapports des Membres des Jurys, etc. (Belgian) 
sur 1 'Exposition universelle de Paris en 1878. (Dentelles et Broderies, 
vol. in., p. 491.) 5 vols. 8vo. Bruxelles, 1879-80. S. K. M. 
1418 — Parkes, Kineton — Occupations for Gentlewomen. I. Lace Work and Em- 
broidery. Atalanta, November, 1894, London. 
1419 — Parsons, E. — Outwork or Renaissance Embroidery. Woman's Rome Com- 
panion. V. 31, p. 22, March, 1904. 
1420 — Pasini, T. — Fiori di ricami nuovamente posti in luce ne i quali sono varii, 
et diversi dissegni di lavori ; Come Merli, Bauari, Manichetti, & altre sorti 
di opere, che al presente sono in uso, utilissimi al ogni stato di Donne. 
Seconda Impressione. Obi. 8vo, 20 ff., 18 plates like Vecellio, one "ba- 
varo." Mostly indented patterns on black grounds. Bologna, 1596. Bib. 
del 'Arsenal. 
1421 — Passerotti, A. — Passerotti Aurelio Pittore Bolognese dissegnatore e minia- 
tore figlio di Bartolommeo Passerotti circa al 1560. Libro Primo di lavo- 
rieri alle molto illustre et virtuosissime gentildonne Bolognesi. Libro se- 
condo alle molto magnifici et virtuosissimi signori Bologne, n.d. In fol. 
obi. 67 ff., including two dedications and a frontispiece. Designs for 
embroidery, etc., drawn with a pen. In the title-page of the first book is 
the device of a sunflower, "Non san questi occhi volgere altrove." Cata- 
logue Cicognara. 
1422 — Passerotti, Aurelio. — Libro di Lavorieri Alia Serenissima sig-ra Mar- 
garita Gonzaga da Este Duchessa di Ferrara, Patrona Colendissima. In 



BIBLIOGRAPHY ' ; 343 

Bologna. Appresso Fausto Bonardi, Con licenza de' Superiori. M.D.XCI. 
4°. Dedication dated "17 Agosto 1591," signed "A. P." Cuts (with 
several shields of arms). B. K. M. 

1423 — Patching, John F. — Lace in Interior Decoration. Illus. Good Furniture 
Mag. Grand Eapids, 1918. V. 10, p. 307-316. 

1425 — Patterns of cutworkes — Here followeth certaine patternes of Cutworkes; 
and bat once printed before. Also sundry sorts of spots, as flowers, 
birds, and fishes, &. Londres, 1632. In-4°. 33 patrons et le titre. Biblio- 
theque Bodleyenne d 'Oxford. 

1426— Pattern Book. Published by 0. Foelix in Cologne, 1527. 

1427 — Pattern Book. Published by Wilhelm Vosterman, Antwerp, 1542. 

1428— Patterns of Nottingham Lace. March, 1850. 

1429 — Patterns — Patrons pour brodeurs, lingieres, massons, verriers, et autres 
gens d'esperit; nouvellement imp rime, a, Paris, rue Saint- Jacques, a. la 
Queue-de Regnard M.DLXIIII. (1564.) Quoted by Willemin. See 1566, 
1567 and 1568. 1 . 

1430 — Pattern Book — An extensive Collection of upwards of 150 Original Draw- 
ings, mostly in pen and ink, of various designs, including a few executed 
in water-colors, mounted on toned paper. From the library of H. R. H. 
The Duchess of Gloucester. 

1431 — Pattern Book — A series of about 220 drawings in sepia of Patterns of 
Lace, Embroidery, etc., on 80 leaves. Circa, 1830. 

1432 — Patterns for Needlework. — Muster altdeutscher und moderner Stickereien 
Herausgegeben von Frau M. Beeg-Aufsess, etc. 30 colored plates. Fol. 
Leipzig, 1883. S. K. M. 

1433 — Pattison, H. — Crochet Applique Lace. Harper's Bazaar.. V. 42, pp. 1231- 
1233, December, 1908. 

1434 — Pattison, H. — Crocheted Doilies. Harper's Bazaar. V. 45, p. 129, March 
1911. ' \ 

1435 — Pavot, T. — Dentelle du Havre. Intermediare des Chercheurs, 1896, Paris. 

1436 — Peacock, N. — New Movement in Russian Art. International Studio. V. 
13, p. 268-276, June, 1901. 

1437 — Pegg, Wm. H. at Nottingham — Pro jet d'un eventail en dentelle. Art ap- 
plique, 2e annee, Paris. 

1438 — Pelegrin, Francisque — La fleur de la science de Portraicture Et patrons 
de broderie; facon arabique et Italique. Cum privilegio Regis. Ce 
titre est inscrit en lettres gothiques au haut de la page. Au-dessous 
une gravure sur bois, representant une femme presque nue, portant sur les 
epaules une sorte de chasuble transparente lui descendant jusqu'aux 
genoux. Elle se dirige vers la gauche, retournant la tete de trois quart a. 
droite, cette tete couronnee de rayons lumineux. Elle tient de la main 
droite sur son epaule un joug et de 1 'autre une banderole sur laquelle on 
lit: Exitus acta Probat. Ses cheveux denoues flottent sur son dos. 
Ses pieds sont enchaines a un gros boulet qu'elle traine derriere elle. 
A gauche des tiges de plantes qui s'elevent droites hors du sol, et sont 
terminees par des fleurettes a quatre petales. En suyt le priuilege. 
Francoys par la grace de Dieu Roy de France, au preuost et bailly 



344 A LACE GUIDE FOB MAKERS AND COLLECTORS 

de Paris ou ses lyeutenans et a tous noz autres justiciers, salut et 
dilection. Reeue avons 1 'humble supplication de nostre cher et 
bieu ame Francisque pelegrin de Florence, contenant que pour tousiours 
decorer, publier, et a coustre Part et science de pourtraicture. II auec 
grant peine, et labeur fait, inuente et compose Ung liure de feuillages, 
entrelatz, et ouuraiges moresques et damasquins, leql il desireroit voule- 
tiers faire imprinter et mettre en lumiere. Done a Bordeaulx le xBii iour 
de Jung. Par le Eoy a nostre relation. Barillon. Ce present liure a este 
imprime a Paris, par Jacques Nyuerd le IX jour d'aoust. L'an de grace 
mil cinq ces XXX pour noble borne messire Francisque Pelegrin de Flor- 
ence. On les vend a Paris en la grant rue Saint Anthoyne deuant les Tour- 
nelles. Au logis de Monseigneur le Conte des Larpes. Par messire Fran- 
cisque Pelegrin de Florence. In-4°. Soixante-deux feuillets cotes de 2 a 
62 avec cinquante-neuf plancbes representant des moresques. Le titre est 
gotbique. La date de 1530 de ce volume est bien plus ancienne que celle 
du Vinciolo, 1587 que M. Alvin nous donne pour le plus ancien livre de ce 
genre imprime a Paris. No animals or natural objects. At plate 33, sur- 
rounded by arabesques, is an N, the initial of the printer. Bibliotheque 
de 1 'Arsenal. 

1439 — Pellegrin, Francisque — La Fleur de la Science de Pourtraicture. Patrons 
de Broderie. Facon arabicque et ytalique. 1530. Beimpression en fac- 
simile, avec introduction par Gaston Migeon, conservateur des objets d'art 
au Musee du Louvre, Jean Schemit, Paris, 1908, in 4to, en cartonnage en 
percaline. 

1440 — Pellegrino — Splendore della virtvose Giovanni dove si contengono molte et 
varie mostre di fogliami, Cioe punti in aere et punti tagliati bellissime et 
con tale artificio che li punti tagliati serueno alii punti in aere et da qvelle 
che sopragasi far si possono medesimamente, molte altre. In Venegia ap- 
presso Iseppo Foresto in calle dell'acque a san Julian, AU'insegna del Pel- 
legrino (1557). In-4°. Au-dessous du titre au milieu, et au-dessus de 
l'adresse de l'editeur, un fleuron entoure de cuirs, representant un pelerin, 
son baton sur l'epaule, se dirigeant dans la campagne, de gauche a droite. 
Autour du fleuron on lit les mots : Non habemus hie civitatem permanen- 
tem sed futuram inquirimus. Au verso une dedicace, Iseppo Foresto a i 
lettori. Une lettre ornee, un V entre les branches duquel on apergoit un 
forgeron assis devant une enclume et frappant avec son marteau. Cette 
lettre est en tete de 17 lignes de teste finissant par les mots : . . . gli anui 
Nostri Lunghi et felici. En resume 16 feuillets, dont un titre et 29 
planches de broderies. Bibliotheque Nationale. 

1441 — Pellegrino — Splendore delle virtuose Giovanni, dove si contangono molte 
et varie mostre fogliami. Cioe punti in aere et punti tagliati bellissimi, 
& con tale artificio che li punti tagliati serueno alii punti in aere, et da 
qvelle che sopragasi far si possono medesimamente molte altre. In Vene- 
tia per Iseppo Foresto in calle dell'acqua a san Zulian, all'insegna del Pel- 
legrino, 1558. In-4°, 16 feuillets. Catalogue Cicognara. 

1442 — Perry, W. C. — Needlework as an Art. From the "National Review," 
August, 1886. 8vo. Lond. 1886. S. K. M. 



BIBLIOGRAPHY 345 

1443 — Peterborough — Cat. of the tercentenary of Mary, Queen of Scots Exhib., 
1887. (Lace, Needlework, etc., p. 23.) 8vo. Peterborough, 1887. S. K. M. 

1444 — Peuchet — Dictionnaire Universel de la Geographie Commergante. 1789. 

1445 — Pfnor, R. — Ornementation usuelle de toutes les Epoques dans les Arts 
Industriels et en Architecture. (Plates 6, 15, 16, 46, 68.) 2 vols. 4to. 
Paris, 1866-67. S. K. M. 

1446 — Photographs of Laces. 1879. (Collection of Kursheedt Manufacturing 
Co., N. Y.) 

1447 — Photos, of Lace, Nat'l Art Library, S. Kensington Coll'n. of Italian (Vene- 
tian, Genoese, etc.) Flemish (Brussels, Mechlin, etc.) French, English and 
Irish Lace. Contained in portfolios. No. 428. S. K. M. 

1448 — Piece of Old Lace, A. — (Argentan, XVIIth century.) The Connoisseur, 
March, 1902, London. 

1449— Pillow Lace-Maker. Every Saturday. V. 10, p. 325. 

1450 — Pin-money Made with the Needle. Ladies Home Journal. V. 21, p. 22, 
January, 1904. 

1451 — Pinson, Paul — Dentelle du Havre. Intermediare des Chercheurs, 1896, 
Paris. 

1452 — Piot, C. — Quelques notes concernant des Brodeurs Beiges du XV siecle 
et du siecle suivant. "Bull, des Commissions Boy. d'art et d'Archeol." 
Vol. II, p. 295. 8vo. Bruxelles, 1863. S. K. M. " 

1453 — Plantadis, J.— L'art de la Dentelle en France. Revue Universelle, Sep- 
tember, 1904, Paris. 

1454 — Politique — Ordonnantie — raekende — de — koop-lieden — en — Wercksters — 
der — spelle-werck, Kanten, — binnen Cortryck. Courtrai, (1765). 

1455 — Pollen, Mrs. J. H. — Ancient Lace in the Boyal Museums, Brussels. Bur- 
lington Magazine, 1912. V. 21, pp. 328-334. 

1457 — Pollen, Mrs. J. H. — Early Designs in Lace-making. Burlington Magazine. 
V. 19, pp. 73-79, May, 1911. 

1458 — Pollen, Mrs. J. H. — Seven Centuries of Lace. London, W. Heineman, 1908. 
B. M. 

1459 — Pollock, Elizabeth, at Londonderry — Cols en dentelles au crochet. Even- 
tail en dentelle. Art applique, 2e annee, Paris. 

1460 — Polonaise Lace, Book of, by the Silkworm. (The Silkworm Series.) 8 vo. 
Loud. (1875). S. K. M. 

1461 — Pompe, Le — Le Pompe, opera nova nella quale si ritrovano varie & di- 
verse sorti di mostre per poter far cordelle ouer Bindelle d'oro, di seta, 
di Filo, ouero di altra cosa dove le belle et virtuose Donne potranno fare 
ogni sorte di lauore ; cioe merli di diuerse sorte, Cauezzi, Colari, Mane- 
ghetti, & tutte quelle cose que li piaceranno. Opera non men bella che 
utile et necessaria, Et non piuveduta in luce. In Venetia, MDLVEI 
(1557). Catalogue Cicognara. Bibliotheque du Vatican. 

1462 — Pompe, Le — Le Pompe, opera nova nella quale si ritrovano varie & di- 
verse sorti di mostre per poter far cordella ouer Bindelle d'Oro, di seta, 
di Filo, ouero di altra cosa dove le belle et virtuose Donne potranno fare 
ogni sorte di lauore; cioe merli di diuerse sorte, Cauezzi, Colari, Mane- 
ghetti, & tutte quelle cose que li piaceranno. Opera non men bella che 



346 A LACE GUIDE FOR MAKERS AND COLLECTORS 

utile et necessaria, Et non pin veduta in luce. In Venetia, MDLVIII 
(1558). Petit in-4°. Au-dessous du titre une marque de libraire formee 
par un assemblage de bouts de rubans enlaces, sur lesquels on lit M. Jesus. 
F. En tout 14 pages dont un titre, en tout vingt-six planebes de dentelles. 
Bibliotheque Nationale. 

1463 — Pompe. — Le Pompe Opera Noua Nellaquale Si Eitrouano Varie & diuerse 
sorti di mostre, per poter jar Cordelle, ouer Bindelle, d'Ore, di Sera, di 
Filo, ouero di altra cosa. Doue le belle & virtuose Donne potranno fare 
ogni sorti di lauoro, cioe Merli de diuerse sorte, Cauezzi, Collari, Mane- 
gbetti, & tutte quelle cose cbe li piaceranno. Opera non men bella, cbe 
vtile, & necessaria. Et non piu veduta in luce. [Mark of tbe brotbers 
Sessa of Venice.] MDLVIII. Si vendeno alia Libraria della Gatta. 4°. 
31 cuts. B. K. M. 

1465 — Pompe, Le. — Le Pompe, opera nova, nella qvale si ritrovano varie et di- 
uerse sorti di mostre per poter far cordelle, ouer Bindelle d'oro, di seta, 
di Filo, ouero di altra cosa. Dove le belle et virtuose donne potranno fare 
ogni sorte di lauoro cioe merli di diuerse sorte, cauezzi, Colari, manegbetti, 
& tutte quelle cose le piacceranno. Opera non men bella cbe vtile et neces- 
saria, et non piu veduta in luce. In Venetia, MDLIX (1559).Petit in-4°. 
Au-dessous du titre un fieuron ovale, dans lequel on voit un vautour de- 
bout sur le cadavre d'une bicbe qu'il tient dans ses serres. Sur une ban- 
derole qui serpente autour du cartoucbe, on lit les mots : Virtute Parta, 
Non Sibi Tantum. Page non cotee. Le verso de cette page est blanc, et 
on lit au milieu de cette page: Si vendano alia libreria della Grata. En 
tout, 16 pages dont un titre et 30 planebes de broderies. Vente Piot, 1891. 
Bibliotheque de 1 'Arsenal. 

1466 — Pompe Le — Le pompe, libro secondo, opera nvova nella quale si ritrovano 
varie et diverse sorti di mostre per poter far cordelle, ouer Bindelle d'Oro, 
di seta di Filo, ouero di altra cosa. Doue le belle & virtuose donne potranno 
fare ogni sorte di lauoro cioe merli di diuerse sorte, Cauezzi, Colari, mane- 
gbetti, & tutte quelle cose cbe li piaceranno. Opera non men bella cbe utile 
et necessaria. Et non piu veduta in luce. In Venetia, MDLX (1560). 
Sur cette page qui est en largeur et non en bauteur comme dans la 
premiere partie un fieuron ovale dans lequel on voit un Pegase volant 
dans les airs de gauche a, droite. Impresa of tbe printer and below, In 
"Venetia 1560." Obi. 8vo, 6 or 16 pages. 29 plates. Mrs. Stisted's copy 
is dated 1562, and tbere is one at Vienna, in tbe Imperial Library, of the 
same date. Bib. de 1 'Arsenal. 

1467 — Pott, A. — Neue Zierscbriften fur Weiss-und Kunst-Stickerei. (54 pp. 
of examples.) Fol. Hamburg, 1869. S. K. M. 

1468 — Pourtraicts de Venise, point coupe — P. De Sajow. (Collection of Kur- 
sheedt Mfg. Co., N. Y.) 

1469— Pratt, L. M— Lace Collar. The Art Worker's Quarterly, July, 1902, Lon- 
don. 

1470 — Prevot — Eventail. L'Art decoratif, February, 1902, Paris. 

1471 — Prevot, Gabriel et Gaston Devresse — Motifs modernes. Serie IV. Den- 
telles et Broderies d'Art. Plauen, Cbr. Stoll, n.d. 



BIBLIOGRAPHY 347 

1472 — Prevot, Gabriel — Stores, dentelles et broderies style moderne. 3 series, 
Paris, A. Calavas. 

1473 — Prevot, S. — Modern Designs for Lace. Nottingham. 

1474 — Priestrnan, M. T. — Artistic Darning. Handicrafts in the Home, 194-198. 

1475 — Priestrnan, M. T. — Needle-craft in Curtains. Country Life, V. 12, p. 364. 
July, 1907. , 

1476 — Priestrnan, M. T. — Old Time Handicraft Eevived. Harper's Bazaar, V. 42, 
pp. 905-907, September, 1908. 

1477 — Priestrnan, M. T. — Suggestions for Darning. American Homes, V. 8, pp. 
134-136, April, 1911. 

Prince, Le — See Nourry, Claude. 

Prince, Le — See Sainte-Lucie, Pierre. 

1480— Princess Louise Lace. Delineator, V. 64, pp. 586-587: 782-783, October- 
November, 1904. 

1481— Priscilla Crochet Book, The— Ed. E. A. Taylor. 1913. 

1482 — Priscilla Cross-stitch Book — Boston. (Collection of Kursheedt Mfg. Co., 
New York.) 1912. 

1483 — Proceedings of the Society of Designers — Nottingham Lace with W. Stew- 
art Elliott's designs. The Artist, October, 1899, London. 

1484— Production of Lace. Nation, V. 80, pp. 158-159, February 23, 1905. 

1485 — Programma der Nederlandsche Kantwerkschool, Gesticht door Jhr. Ern- 
est van Loon. Apeldoorn, P. C. Ackerman, 1802. 

1486 — Protection of Lace-Making in England. Saturday Review, V. 72, p. 691. 

1487 — Pulszky, C. de — Acta nova Musei Nat. Hungarici. Tom II. Ornaments 
de 1 'Industrie domestique de la Hongrie. (Planches.) Fol. Budapest, 
1878. S. K. M. 

Quaritch Reprints — See Nos. 1351, 1408. 

1488 — Queen Lace Book, The — Part I. Mediaeval Lacework and Point Lace. 
London, "The Queen's" Office, 1874. B. M. 

1489 — Quentel, P — Eyn new kunstlich boich, etc. Gedruckt in Collen durch P. 
Quentell, 1527. (Facsimile reproduction.) Ornaments, patterns and let- 
ters for needlework. Sm. 4to. Leipzig, (1882). S. K. M. 

1490 — Quentell,Peter — Eyn new Kunstlich boich dair yn E. vnd rrr viij figurem, 
monster ad stalen befonden, wie man na der rechter art, laufferwerk, 
spansche stiche mit dernalen vort op der Kamen, und vp der laden, bor- 
den, wirken sail wilche stalen all-tzo samen verbessert synt vnd vil kun- 
stlicher gemacht da dye eirsten zc sere nutzlich alien wapensticker frau- 
wen ionferren und met ger dair uf s kunst licht lich tzu leren. Gedruckt tzu 
Collen up dem Deem Hoff. durch Peter Quentell. Anno MDXXXjj. 
(1532.) Ce titre est dans une bordure ornementee, ou l'on voit quatre 
femmes et un homme ocupes a des travaux d 'aiguille et de passementerie. 
Le volume est compose de 24 feuillets signes A. F. entierement remplis par 
des dessins de broderies, sauf le recto du premier feuillet qui contient le 
titre ci-dessus et le verso qui contient un portrait de Charles V assis. Vente 
Santarelli. 



348 A LACE GUIDE FOR MAKERS AND COLLECTORS 

1491 — Queutell, Peter — Ein new Kunstlich Modelbiich dair yn meir, dan seeks 
bundert figurenn monster a der stalen befonden, wie niann na der recbter 
art Perlenstickers, Lauffer werck spansclie stielie, mit der nalen vort 
up der ramen unnd up der laden, borden, wircken sail wilcbe stalen altzo 
sanien verbessert synt vn vill Kunstlicber gemaclit dan die eirste mit vil 
meir neuwe stalen bier by gesatzt,zc. Sere nutzlicb alien wapensticker frau- 
wen ionfferenn und metger dair usz solcb Kumst lrcbtlieh tzo luren. — Ung 
nouviau libure auec pluseurs sciences et patrons qui n'ont point estes en- 
core imprimes. Gedruckt tzo Collen up dem Dcemboff. durch Peter Quen- 
tell. Im jair MDXXXVL (1536). In-4° gothique. Au-dessous de ce titre, 
trois compartiments, celui du milieu encadre par deux colonnes. Dans le 
compartiment de gaucbe une femme assise de profil a droite et travaillant 
a un metier. Dans celui du milieu une femme assise de trois quart a droite 
et cousant. Dans celui de droite une femme travaillant a un petit metier a 
rubans. Le verso de cette page est occupe par une gravure sur bois qui 
sert de titre a plusieurs autres livres a dentelles, notamment au Pierre 
Quentel de 1527. C 'est un fronton circulaire posant sur deux colonnes 
surmontees cbacune d'une petite figure de femme brodant a 1 'aiguille. Au 
milieu un bomme travaillant a un petit metier qu'il tient des deux mains 
appuye sur un genou. En bas deux femmes travaillant, l'une, celle de 
droite a, un metier de baute lisse, 1 'autre, celle de gaucbe a un petit metier 
pose devant elle sur une table. L'inteiieur de la page, a, l'endroit ou devait 
etre imprime le titre est blanc. Puis commencent les broderies. Au verso 
de la derniere page, les armoiries de la ville de Cologne, representant deux 
animaux fantastiques. Celui de droite a tete de lion, celui de gaucbe a, tete 
d'aigle. On voit sur l'ecusson central les couronnes des trois Eois, et cet 
ecusson est surmonte d'un casque beraldique. En bas sur une tablette : 
Felix Coloniae. En resume, 52 pages dont 101 plancbes de broderies. 
Vente F. Didot, 1879. 

1492 — Quentell, P. — Eyn New Kiinsticb Modelbuecb, daryn vill scboner Staelen 
begriffen die ietzundt auff des newst unnd nocb nye in druckt ausgangen 
als Rortgens werck, Lobartiscb vn uberlegt werck, aucb wapenstickers vn 
Scbnitzlers, frauwen vn Junckfrauwen fust nutzlicb darauf zu lernen, ec. 
Gedruckt zu Coin durch Peter Quentell. Im iair 1544. Vng nouveau liure 
avec plusieurs sciences et patrons qui nont poinct este encore imprimees. 
4°. Title page and 6 leaves. B. 11". M. 

1493 — Quentel, P. — Ein new kunstlicb Modelbuob . . ., etc. Exemplaire absolu- 
ment semblable a celui est decrit ci dessus, avec cette difference qu'il 
est date de 1545. Les cotes des pages ne sont pas en caracteres go- 
tbiques comme dans 1 'autre exemplaire. Vente Didot, 1879. Vente Des- 
tailleurs, 1895. P. Quentel a ete longtemps considere comme le plus ancien 
editeur de livres a dentelles. On a de lui un livre de broderie publie en 
1527. Ce livre fut reimprime en 1529, 1532 et 1544. Cette derniere edition, 
celle qui nous occupe ici a ete decrite exactement pour la premiere fois 
dans le catalogue de la vente Didot. 

1494 — Qraentel Peter — Modellbucb (Ornamente und Stickmuster). Nacb der 



BIBLIOGRAPHY 349 

hochst seltenen Coiner Ausgabe (1527-29) auf 80 Tafelii in Lichtdruckre- 
produktion herausgegeben. Leipzig, 1880. 

1495 — Quentel, Peter — 1527-1529, Musterbucb fiir Ornaniente und Stickmuster. 
Leipzig, A. M. Gotze, n.d. Kunstgewerbe-Museums zu Leipzig. 

1496 — Qui laborat orat (travail de la Den telle). Dublin University Magazine, 
December, 1869, Dublin. 

1497— Quignon, G. EL— La Dentelle Cliantilly. Establisbed by tbe Ducbesse de 
Longueville. 

1498 — Quinty, Pierre — Liure nouveau et subtil toucbant lart et science tant de 
brouderie, fronssures, tapisseries come aultres mestiers qun fait ales- 
guille, soit au petit mestier, aultelisse ou sur toille clerc, tresvtile et neces- 
saires a toutes gens usans des mestiers et ars dessuld ou semblables ou il y 
ba C et xxxviij, patrons de diuers ouvraiges faicb per art et proportion. 
En primere a culoge (Cologne) par metrepiere quinty (Pierre Quinty), 
demorant denpre leglie de iii Eoies. Petit in-8°. Ce titre est dispose dans 
un rectangle blanc entoure d'un trait carre. Dans ce rectangle une com- 
position gravee sur bois. Voir ci-dessus la description de cette com- 
position. Verso. Des armoiries des deux cotes desquelles sont deux ani- 
maux fantastiques, celui de droite a tete de lion, celui de gaucbe a tete 
d'aigle. On voit sur l'ecusson central les couronnes des trois Eois, et cet 
ecusson est surmonte d'un casque keraldique. En bas de la composition 
une petite tablette rectangulaire sur laquelle on lit: Felix Colonia, 1527. 
Puis commeneent les broderies imprimees au recto et au verso. — Une page 
non cotee, alphabet gotbique a fond de canevas, allant de la lettre A a la 
lettre P. Verso, fin de cet alphabet. — Une page non cotee, alphabet en capi- 
tales droites a fond de canevas. — Verso, alphabet en capitales droites, les 
lettres d 'impression sur fond blanc. En resume, 22 feuillets avec 42 
planches. Bibliotheque Nationale. 

1499— R., J. S.— Nottingham Lace Edgings. The Artist, March, 1900, London. 

1500 — E., Mme. de — Traite de la dentelle aux fuseaux, dentelles de Mirecourt, de 
Valenciennes, de Malines, de Flandre, de Bruxelles, de Venise, 1879. 

1501 — Eamsey, A. E. — Masterpiece of Mary Queen of Scots. Ladies' Home Jour- 
nal, V 17, p. 13, June, 1900. 

1502 — Eapport general sur la situation de l'industrie et du commerce dans le 
ressort de Saint-Nicolas, annee, 1872. 

1503 — Easmussen, S. — Kloppelbuch. Eine Anleitung zum Selbstunterricht in 
Spitzenkloppeln. Plates. 4to. Kopenhagen, 1884. S. K. M. 

1504 — Easmussen, Sara — Notiser om Point de Venise og Point de Prance. Ticls- 
skrift for Kunstindustri, 1889, Copenahagen. 

1505 — Eeal Lace, A Hint to Collectors — The Connoisseur, November, 1905, Lon- 
don. 

1506 — Eeboul — Memoire historique sur le Tulle et les Dentelles mecaniques de 
Calais, Preface de M. Passy. Calais, L. Fleury, 1885. 

1507 — Eechami, de — Per elquale se impara in diversi modi, l'ordine el il modo 
de recamare,etc. Eeprint. n.p. n.d. 



350 A LACE GUIDE FOR MAKERS AND COLLECTORS 

1508 — Eecueil faetiee de 126 planches de deutelles de broderie et points coupes. 
En un vol. in-4. 

1509 — Eedmond, L. M. — Lace in the Household. House Beautiful, V. 28, pp. 18- 
20. June, 1910. 

1510 — Eegnal, Georges — La cause de la vraie dentelle francaise. Simple Revue, 
May, 1904, Paris. 

1511 — Beiffenberg, di — Notice sur la Dentelle. Dictionnaire de la Conversation, 
etc., au mot "Dentelle." 

1512 — Eeiser, D. H. — -New Eussian Drawn-work. Ladies' Home Journal, V. 23, 
p. 64, March, 1906. 

1513 — Eenner, Henry — Zeichnungen fur Spitzen und Stickereien. Zurich, M. 
Kreutzmann, 1911. 

1514 — Eeusens — Album de l'art Ancien a, 1 'Exposition de Bruxelles, 1884. La 
Dentelle Notice par le chanoine Eeusens. In folio de 7 pages de teste et 
30 planches en phototypie reproduisant les plus beaux specimens des 
dentelles qui ont figurees a 1 'Exposition. 

1515 — Eevival of the European Lace-industry. Review of Reviews, V. 35, pp. 
607-608, May, 1907. 

1516 — Eevolte des Passements, 1660, La — By a friend of Mine, de Sevigne. 

1516a-Eevue des Deux Mondes — L 'Industrie de la dentelle en Normandie, Ire 
avril, 1900. 

1517 — Eeynolds, L. A. — A Lesson in the Making of Honiton Lace. Art Workers' 
Quarterly, V. 4, No. 13, pp. 40-43. 

1518 — Ehead, G. Wolliscroft — History of the Fan in Ancient and Modern Times. 
Magnificently illustrated with 27 full-page colored illustrations, 127 full- 
page illustrations in black and white. London, 1910. 

1519 — Eheden, Klaus von — Brabanter Spitzen. Velhagen & Klasings Monats- 
hefte, Jahrg. 16, pp. 145-156. Bielefeld, 1902. 

1520 — Ehone, Fabrication de la Dentelle dans le Departement du, et les departe- 
ments limitrophes. (Maison Dognin et Cie.). 4to. Lyons, 1862. S. K. M. 

1521 — Eiano, J. F. — Catalogue of the Art Objects of Spanish Production in the 
S. Kensington Mus. (Class X. Lace.) 8vo. London, 1872. S. K. M. 

1522— Eiano, J. F.— The Industrial Arts in Spain. (Lace). 8vo. (Lond.), 1879. 
S. K. M. 

1523 — Eibello — Trionfo di Virtv, Libro novo da cusir, nel qual si contengono 
molti et diuerse sorti di f ogliami del quale ogni gentil et virtuosa Madonna 
se potra servire. In far Ponti a fili, Ponti cruciati, ponti intrezola, ponti 
instura, ponto scritto tirar in opera cuchiar, Terser e molti altri ponti 
come a loro piacera. Ce titre est dans un cartouche ovale, forme de cuirs 
enroules et decore sur les cotes de guirlandes de fruits et de fleurs. Au- 
dessous une composition gravee sur bois. On voit a. gauche une femme de 
la haute societe, assise sur une chaise de bois, dont le dossier est decore de 
sculptures. D'une main, elle tient une etoffe posee sur) ses genoux, de 
1 'autre elle indique un ouvrage pose sur les genoux d'une autre femme 
assise pres d'elle a droite. Deux autres femmes completent cette composi- 
tion. Celle qui est a, l'extremite de droite, a egalement sur ses genoux un 
ouvrage representant des entrelacs et elle se penche a gauche pour regarder 



BIBLIOGRAPHY 351 

le travail que fait sa eompagne. Le parquet est forme de carreaux blancs 
et noirs et ou voit un panier en osier, contenant du linge et des etoffes. 
Au fond un paysage. Au verso d'un page, une grande marque de libraire 
gravee sur bois. Une femme a genoux de profil a droite, tenant des deux 
mains devant elle un calice. Pres d'elle couchee par terre la Salnte- 
Croix. Medaillon ovale, entoure d'une bordure sur laquelle on lit: Senza 
di me l'buom fassi a dio Eibello. En tout un titre et 15 feuillets, done 16 
feuillets dont 28 planches de broderies. B. M. 

1524 — Ricami per Biancberia, 200 incisioni e testo esplicativo. Fratelli Trevas, 
Editori. Milan. 

1525 — Bicci, Elisa — Anticbe trine Italiane. Bergamo. Instituto Italiano d'Arti 
Grafiche, 1908. B. M. 

1526 — Bicci, Elisa — Old Italian Lace. 2 vols. London, W. Heineman. Phila- 
delphia, J. B. Lippincott Co., 1913. 

1527 — Ricci, Elisa — Peasant Art in Italy. Special Number of tbe International 
Studio, 1913. 

1528 — Bicci, E. — Revival of Needle-work in Italy. International Studio, V. 52, 
pp. 197-206, May, 1914. 

Bicci, E.— See Nos. 1324, 1364a, 1805a, 1813, 1894. 

1529 — Ricci, Leone — Catalogue of tbe Leone Ricci collection of old Lace. Class- 
ified, described and catalogued by Sara Hadley. New York, Metropolitan 
Art Association, 1915. 

1530— Riqbard, J. M.— Mahaut, Comtesse d'Artois, etc. (1302-1329.) (Needle- 
work.) 8vo. Paris, 1887. S. K. M. 

1531 — Rieger, F. — Rieger'sche. Modeles de broderie en noirs et enlumines. 
(18 plates.) Obi. fob Mannheim. 1808. S. K. M. 

1532 — Rieujeyroux, A. de — Traite de la Dentelle au Puseau. 1879. 

1533 — Riotor, Leon — La concours de dentelles de 1 'Union Centrale des Arts De- 
coratifs. L'Art decor atif, 1905, Paris. 

1534 — Riotor, Leon — Les Dentelles de l'Ecole des Arts et Metiers de Vienne. 
L'Art decor atif , October, 1900, Paris. 

1535 — Ripley, C. — Lace and Lace Making, Court of the Connoisseur; the Lineage 
of Laces. Good Housekeeping , V. 63, pp. 54-55, October, 1916. 

1536 — Risa, Dr. A. — Schlesische Spitzen. Mittheil. des Kais. Fr. Jos. Museum 
fur Kunst und Geiverbe. Troppau, 1899-1900. 

1537 — Rizzardi, Gio. Dominico — Giardino, nel quale si dimostra varij. disegni per 
far Ricami et altri lauori che con lago hoggidi si usano. Padoua. Gio. 
Dominico Rizzardi, 1607. 32 feuillets y compris le titre et 3 feuillets de 
dedicace et de vers a la signora Isabella Francazani Alecarda. Les 
planches ainsi que le cartouche ornemente du titre sont imprimes seule- 
ment au recto. Vente Santarelli. 

1538 — Robie,V. — Quest of the Quaint. Bypaths in Collecting, 496-516. 

1539— Robinson, F. Mabel— Irish Lace. The Art Journal, 1887, London, V. 39, p. 
144. 

1540 — Robinson, F. Mabel — The Lace School at Burano. The Magazine of Art, 
April, 1884, London. V. 7, p. 257. 



352 A LACE GUIDE FOR MAKERS AND COLLECTORS 

1541 — Eobinson, F. Mabel — Old Venetian Point. The Magazine of Art. De- 
cember, 1883, London. 

1542 — Eobson, Isabel Stuart — England's Oldest Handicrafts — Hand-made Lace. 
The Antiquary, July, 1898, London. 

1543 — Bock, Dr. — Introduction to Textile Fabrics at South Kensington Museum. 

1544 — Bock, Bev. Dr. — Textile Fabrics, a Descriptive Catalogue of the Collection 
of Church Vestments, Dresses, Silk Stuffs, Needlework, and Tapestries, 
in the South Kensington Museum. 20 full-page plates, some colored. Thick 
royal 8vo. London, Published for the Committee, 1870. 

1545— Bocker. E.— Crochet Doilies. Delineator, V. 79, pp. 222-223, March, 1912. 

1546— Bocker, E.— Latest Crochet Collars. Delineator, V. 79, p. 338, Apr., 1912. 

1547— Bocker, E.— Narrow Crochet Edgings. Delineator, V. 79, p. 143, Feb. 1912. 

1548 — Bocker, E. — Venetian Lace Crochet. Delineator, V. 79, p. 65, Jan., 1912. 

1549 — Boger-Milles — Comment discerner les styles! Etudes sur les formes et 
les decors dans les objets d'art . . . dentelles, etc. Paris. Ed. Bouveyre, 
n.d. 

1550 — Boger-Milles — Comment discerner les styles? La Dentelle. Transforma- 
tions progressives XVIe et XVIIe siecles. Paris, Ed. Bouveyre, n.d. 

1551 — Bogge, Elizabeth, et A. von Saber — Tentoonstelling van Kunstnaaldwerk 
in bet Museum van Kunstnijiverheid to Haarlem, 1904. Amsterdam, 
Scheltema & Holkema, n. d. 

1552 — Bomanelli-Marone, Giacinta — L'Arte delle Trine in Italia. II Secolo XX, 
January, 1903. 

1553 — Bomanelli-Marone, G. — Trine a Fuselli in Italia. Manuali Hoepli. Mi- 
lano, 1902. B. M. 

1554 — Bonaldson, Miss — Lady's Book of Crochet Work. 1848. 

1555 — Bonse, Alfred — Discours prononce le 15 mars, 1884, au conseil communal 
de Bruges. 

1556 — Bosevear, E. — A Manual of Needlework and Knitting. 136 pages. Lon- 
don, 1894. In British Museum. 

1557 — Bosevear, E. — Needlework, Knitting and Cutting Out. London, 1894, 3 
parts. In British Museum. 

1558 — Bosevear, E. — Needlework and Knitting for Older Girls, etc. 3 parts, 
London, 1894. B. M. 

1559 — Botherham, Jeremiah & Co. — Lace curtains : new designs for 1898. Lon- 
don, (1898). la. 8vo. 

1560 — Bottigni-Marsilli, Ctessa G. — Una grande Industria Artistica Italiana. I 
Merletti di Venezia. L' Italia Moderna, 1904, No. 6, Borne. 

1561 — Bottigni-Marsilli, Giannina! — Seritti Vari. Borne Union Coop. Editrice, 
1896. 

1562 — Bouaix, P. — Dictionnaire des Arts decoratifs a, 1 'usage des artisans, etc. 
(Broderie et Dentelle.) 8vo. Paris, 1886. S. K. M. 

1563 — Bouaix, P. — Les Styles. 700 gravures classees par epoques. (Embroid- 
ery) fol. Paris, 1886. S. K. M. 

1564 — Bousseau, Eugene — Dans la Cite binchoise. L 'Industrie de la dentelle. Le 
Peuple, Sept. 12, 1904, Brussels. 

1565 — Boyal Trousseaux — The Lady's Realm. September, 1889, London. 



BIBLIOGRAPHY 353 

1566 — Euelle, Jehan — Patrons pour Brodeurs, Lingieres, Massons, Verriers et 
autres gens d'espirt, nouvellement, Imprime a Paris, Par Jehan Euelle. 
Encadrement du titre absoluruent le meme que dans P No. 1567. Le titre 
est egalement le meme. Page non cotee, au verso trois petites gravures sur 
bois, tires de la Vie de Notre-Seigneur. En liaut, les fernmes au Saint- 
Sepulchre. En bas a gauche Jesus apparaissant a ses disciples, a droite 
Jesus et les compagnons d'Emmaiis. En tout un titre, et 23 feuillets dont 
31 planches de gravures. See No. 1429. B. M. 

1567 — Euelle, Veuve Jean — Patrons pour Brodeurs, Lingieres, Massons, Ver- 
riers et autres gens d'Espirt. A Paris, pour la Veuve lean Euelle, Eue 
S. Jacques a Penseigne Sainct-Nicolas. Ce titre est inscrit dans un rec- 
tangle en hauteur, entoure de trois filets et encadre par un entourage de 
cuirs roules et de rinceaux. De chaque cote de cette composition, une 
femme en cariatide, portant sur sa tete un chapiteau, sur lequel s'appuie 
la base d'une arcade ogivale. Sur ces chapiteaux se voient egalement une 
petite femme assise, tenant d 'une main une plume, de 1' autre un livre 
ouvert. En bas, au milieu, un mascaron, entre deux petits enfants et des 
chimeres grotesques, portant sur leurs tetes des couronnes a pointes. En 
tout, un titre et 23 feuillets dont 31 planches de gravures. Bib. de P Arsenal. 
11,954 (with D. de Sera.) See No. 1429. Bibliotheque de P Arsenal. 

1568 — Euelle, V. Jean — Pattern Book, Paris, 1564, 23 pages, 32 plates. See No. 
1429. 

1569 — Eupprecht, M. A. and Haffner, J. C. — Verschiedene Modell zum Strick- 
en und Nahen. Obi. 4to. Augspurg, n.d. (18th century). S. K. M. 

1570 — Buutz-Bees, J. E. — Home decoration; art needlework and embroidery, 
etc., 8vo. N. Y., 1881. Another edit. 8vo. N. Y. 1884. S. K. M. 

1571 — Eyland, Clarice, at Handsworth — Col de dentelle. Projet d'un voile de 
mariage. Art applique, 2e annee, Paris. 

1572— S., A. M. (Mary Sharp)— Point and Pillow Lace. E. P. Dutton & Co., 
London, 1899. B. M. 

1573— S., A. M.— Point and Pillow Lace. Nation, V 70 p. 18, Jan. 4, 1900: 
Athenaeum, V. 2, pp. 651-652, Nov. 17, 1900. Magazine of Art, V. 25, 
pp. 227-230, March, 1901. See Sharp, Mary. 

1574 — S. — M. de — Epaulettes de Dentelle. Journal des Dames et des Demoiselles, 
March 1, 1902, Brussels. 

1575 — S., E. M. — Nuw Modelbuch, allerley gattungen Dantelschnur so diser zyt 
in hoc Tiitschlanden geng und briichig sind zu vnderricht jven Leertoch- 
teren vnnd alien anderen schurwiirkeren zu Ziirych, vnd wo die sind, yetz 
nuwlich zubereit, vnd estmals in Truck, verfergket durch E. M. S. Petit 
in-4°. 24 ff. Tres rare. Sorti probablement des presses de Froschovern. 
Les 2 ff. liminaires, contiennent le titre avec une gravure representant 
deux dames faisant de la dentelle, et une preface. Les feuillets I a XIX 
chiffres, contiennent de nombreux modeles graves sur bois et les trois 
derniers la table. Catalogue Tross, 1870. New Modelbuch. "Printed at 
Zurich, by Christoph. Froschowern. About The year, 1560." 



M 



354 A LACE GUIDE FOB MAKERS AND COLLECTORS 
S. — E. M. see M ,— E. 



1577 — S., T. E. D. — Buckinghamshire Lace. Atalanta, November, 1896, London. 
1578 — Sachs, Phyllis G., at London — Projet de col et barbe. Art applique, Ire 

annee, Paris. 
1579 — Sainte-Croix, Dr. Le Eoy de — Parement d'Autel ancien en Dentelle et 

Broderie, appartenant a Mrs. Hailstone. 8vo. Wakefield and Paris. 1874. 

S. K. M. 

1580 — Sainte Lucie, Pierre de — La fleur des patrons de lingerie a deux endroits, 
a point croise, a point couehe et a point picque en fil d'or, fil d 'argent 
et fil de soye ou aultre en quelque ouuraige que ce soit en compre- 
nant Part de broderie et tissuterie. Imprimees a Lyon en lai maison de 
Pierre de Sainte Lucie, diet le Prince pres Nostre dame de Confort. In-4°. 
Ce titre est dans un encadrement absolument pareil a celui qui est decrit 
ci-dessus. La seule difference est que cette premiere page n'est pas 
cotee A comme elle Pest dans L 'edition ci-dessus et qu'il y a au 
verso un dessin de broderie. Page non cotee, verso. Au verso de 
cette page, une marque d'imprimeur, representant un rocker, sur- 
monte d'une ville forte. A gauche un honrme cherche a monter le 
chemin escarpe qui mene a cette ville. Pres de sa bouche on lit le mot 
spero. A droite dans une grotte, une furie la tete et les bras entoures de 
serpents. Au-dessous de cette marque: Imprime a Lyon par Pierre de 
saincte Lucie diet le Prince, 1549. 8vo, 12 ff., 21 plates. Frontispiece. 
Title in Gothic letters, with woodcuts representing people at work. Below 
two women sitting at frames ; above, two others ; and between, a man with 
a frame in his hand. On each side a shield, one with crowned heart, 
on the other a lion, three fleurs de lys in chief. Patterns mediaeval.. Sil- 
vestre gives 1530 to 1555 as the date of Pierre de Saincte Lucie. Voila 
done dit M. le marquis d'Adda, dans sa bibliograpkie, le premier volume 
de ce genre imprime a Lyon et anterieur de 36 ans a l'ouvrage d'Ostaus, 
Tresor des Patrons, que M. Alvin nous donne non seulement pour le pre- 
mier livre sur ces matieres publie a Lyon, mais encore pour le premier en 
date de toute la France. Bound in one volume witk tke tkree following. 
(Nos. 16, 17 and 18.) — Catalogue des Livres provenant de la Bibliotkeque 
de M. L. D. D. L. V. (Duke de La Valliere). Paris, 1763. T. xi., No. 
2,204. Bibliotkeque Sainte-Genevieve. 

1581 — Saincte Lucie, Pierre de — Lyure nouueau diet patrons de lingerie: e'est 
assauoir a deux endroitz, a point croise, point coucke, et point picque en 
fil d'or, d 'argent, de soye et aultre en quelque ouurage que ce soit: en 
comprenant Part le broderie, et tissuterie. On les vend a Lyo ckez Pierre 
de Saicte Lucie, pres. nostre Dame de Confort. C'est absolument le 
meme exemplaire que celui de Pedition de Claude Nourry decrit ci-dessus 
menie nombre de pages, merries dessins de broderies, memes cotes par ca- 
hiers de 4 pages. Au verso de la derniere page la marque d'imprimeur 
est differente. Ici c'est une sorte d'Ecusson dans une couronne de bran- 
chages ; au-dessous de cette couronne et enlacee avec elle une banderole sur 
laquelle on lit: Oculi mei semper ad Dominum. Psal. 24. Au bas une 
main tenant un bassin circulaire dans lequel on voit deux yeux. 40 wood- 



BIBLIOGRAPHY 355 

cut lace designs, engraved title, and printer's mark, 16tn century. 8vo. 
Lyons, n.d. See also Belin, A. S. K. M. 
1582 — Saincte Lucie, Pierre de — Livre nouueau diet patrons de lingerie, e'est 
assauoir a deux endroitz a point croise, point couche et point picque en fil 
d'or, d 'argent, de soye et aultre en quelque ouvrage que ce soit, en com- 
prenant l'art de bro'derie et tissoterie. Imprime a Lyon, chez Pierre de 
Saincte Lucie, pres Nostre Darne de Confort. In-4°. Ce titre est dans 
un eneadrement absolunaent pared a celui de l'edition de Claude Nourry. 
La seule difference est que cette page n'est pas cotee A comnie dans la sus- 
dite edition, et qu'il y a ici au verso un dessin de broderie. Les cotes des 
pages sont exactinent les merries, et leur nombre egalement. Au verso de 
la derniere page, une marque d'imprirneur representant un rocher sur- 
monte d'une vide fortifiee. A gauche un homme cherche a monter le che- 
min escarpe qui mene a cette ville. Pres de sa bouche on lit le mot : Spero. 
A droite dans une grotte, une furie, la tete et les bras entoures de serpents. 
8vo, 24 ff., 41 plates. Frontispiece. Title in Gothic letters ; the same 
shields; two women at work. Patterns medieval. At the end the same 
device. The copy of the Arsenal is a different impression. Instead of 
"Imprimes," &c, we have, "On les vend," etc. Cat. d'Estrees. Bib. 
de 1 'Arsenal. Bib. Sainte Genevieve. 

1583 — Sainte Lucie, Pierre de — 

Patrons de diuerses manieres, 
Inuentez tres subtilement 
Duysans a Brodeurs et Lingieres, 
Et a ceux lesquelsz bravement 
Veullent par bon entendement 
User d 'antique et Eoboesque 
Frize et moderne proprement 
En comprenant aussi moresque, 
A tous massons, menuisiers et verriers, 
Feront proffit ces pourctraitz largement 
Aux orpheures et gentilz tapissiers 
A ieusnes gens aussi semblablement 
Oublier point ne veulx aucunement 
Contrepointiers et les tailleurs d'ymages. 
Et tissotiers lesquels pareillement 
Par ces patrons acquerront heritages. 

Imprimees a Lyon par Pierre de Sainte-Lucie, diet le Prince, pres Nos- 
tre -Dame de Confort. Ce titre est dans le meme eneadrement que celui 
decrit ci-dessus avec cette difference que la page n'est pas cotee AA, 
comme elle Pest dans l'edition ci-dessus. Non cotee. S'ensuyent les Pa- 
trons de Messire Antoine Belin reclus de Sainct Martial de Lyon. Item 
plusieurs autres beaux patrons nouueaulx qui ont ete inventez par Jehan 
Mayol Carme de Lyon. On les vend a Lyon chez le Prince. Ce titre est 
dans un eneadrement forme de deux collonnes autour desquelles tourne 
un rinceau de feuillage. Au milieu de la page une marque d'imprirneur 

[ representant un rocher surmonte d'une ville fortifiee. A gauche un 



356 A LACE GUIDE FOR MAKERS AND COLLECTORS 

homme cherche a monter le chemin escarpe qui mene a cette ville. Pres 
de sa bouche on lit le root : Spero, a droite dans une grotte, ime f urie, la 
tete et les bras entoures de serpents. Au verso un quadrille, sans des- 
sin de broderie. 8vo, 16 ff., 31 plates. Title in Gothic letters. Patterns 
mediaeval. The copy at the Arsenal is a later impression. ' ' On les vend 
a Lyon, par Pierre de Saincte Lucie, en la maison du deffunct Prince, 
pres," etc. It has only 12 ff., and 23 plates. Bibliotheque de Sainte-Ge- 
nevieve. 

1581 — Sainte Lucie, Pierre de — 

Patrons de diuerses manieres, 
Inuentez tres subtilement 
Duysans a Brodeurs et Lingieres, 
Et a ceux lesquelsz bravement 
Veullent par bon entendement 
User d 'antique et Eoboesque 
Frize et modeime proprement 
En comprenant aussi moresque, 
A tous massons, menuisiers et verriers, 
Peront promt ces pourctraitz largenient 
Aux oi - pheures et gentilz tapissiers 
A ieusnes gens aussi semblablement 
Oublier point ne veulx aucunement 
Contrepointiers et les tailleurs d'ymages. 
Et tissotiers lesquels pareillement 
Par ces patrons acquerront heritages. 
On les vend a Lyon, par Pierre de Saincte Luck\ 
En la maison du deffunct Prince, pres Nostre-Dame de Confort. 
Quelques exemplaires portent au lieu des trois dernieres ligncs ci-dessus-: 
Imprimees a Lyon par Pierre de Sainct-Lucie, diet le Prince, pres Nostre- 
Dame de Confort. C'est absolument le nieme livre que celui decrit ci-des- 
sus, sauf les differences dans Pen once du titre. Bibliotheque de L 'Ar- 
senal. 
— Nos. 1580-1584 bound in 1 vol. Ellis (London) Cat. No. 177, 1918. 

1585 — Sainte Lucie, P. de — Patrons de divers manieres, etc. Sm. obi. 4to. 
Lyons, Pierre de Ste. Lucie, 1590. 11 tracings of these patterns by C. E. 
Clerget. S. K. M. 

1586 — Sainte Lucie, Pierre de — La vera perfettione del disegno, di varie sorti 
di recami, et di cucire ogni sorte di punti a fogliami, punti tagliati, punti a 
fili & rimessi, punti incrociati, punti a stuora & ognaltre arte che dia opera 
a disegni a di nuovo aggiuntoui varie sorti di merli, e mostre che al pre- 
sente sono in vso pratica. In Venetia Appresso Francesco di Franceschi, 
senese all' insegna della Pace, 1591. In-4° oblong. Sur le titre un neuron, 
representant une femme assise, tenant d'une main une branche d'olivier, 
de l'autre une torche allumee dont la flamme repose sur le sol. Dedicace: 
Alia Clarissima signora Lvcretia Contarini. Verso, une gravure sur bois, 
representant Lucrece Romaine entouree de ses femmes. A droite un guer- 
rier dans une porte. Signee en bas a gauche dans l'interieur du dessin; 



BIBLIOGRAPHY 357 

Jose Sal. 1557. (Joseph. Salviati, plus connu sous le noni de Porta Grar- 
fagnino.) Deux sonnets en regard l'un de 1 'autre. Celui de gauche: 
Alia Clarissima signora Lucrecia Priuli. Celui de droite: Sonetto alle 
saggie et Virtuose donne. Verso, preface aux lecteurs : Alii saggi et 
giuditiosi lettori. La derniere page non cotee, mais numerotee LXXVIIII, 
a au verso : Eegistro, ABODE Tutti sono quaderni. Puis au-dessous 
un cartouche dans lequel on voit la Paix personnifiee par une femnae te- 
nant d'une main une branche d'olivier, de 1 'autre une torche, la fiamme ren- 
versee. Au-dessous on lit : In Venetia M D X C. Cette date ne concorde 
pas avec celle du titre. II pourrait done se faire qu'il y ait eu une edition 
anterieure en 1590. 73 planches de broderies. Catalogue Yemenitz. Cat- 
alogue Riva. Bibliotheque de L 'Arsenal. Bibliotheque Nationale. 

Sainte Lucie — See A. Belin and Johan Troulon. 

1587 — Salwen, Ebba — Russische Frauenarbeiten. Plauen, C. Stoll, 191(f). 
1588 — Sammlung neuer Muster zuni Sticken in Plattstich und Tambourin gez- 
eichnet von einer Hamburgerin. 1822, 1824, 1827 und 1828. Mit zus. 66 
Taf. in Kpfst. Qu.-fol. Hamburg. 
1589 — Sammlung von Spitzenmustern nach Originalen des XIV., XV. und XVI. 

Jahrhunderts. Berlin, Ernst Wasmuth, 1882. 
1590 — Samplers of our Lovely Ancestresses. Booh Buyer, V. 22, pp. 216-220. 

April, 1901. 
1591 — Saunier, Charles — Broderies et Dentelles. L'Art decoratif, August, 1891, 

Paris. 
1592 — Saward, Blanche C. — Church Festival Decorations, and papers on fancy 
and art work in The Bazaar, Artistic Amusements, The Girl's Own 
Paper. 
1593 — Scailquin — Enquete scolaire sur l'enseignement professionnel et litteraire 
donne dans les ateliers d'apprentissage et les ecoles dentellieres. Brus- 
sels, 1884. 
1594 — Scantlebury, E. E. — Old and Bare Samplers. House Beautiful, V. 32, pp. 

138-139, October, 1912. 
1595 — Schaarschmidt, M. — Ornamentik der Gegenwart. Plauen, n.d. One vol., 

oblong folio, original boards. 24 plates with 2, 3 or 4 designs in colors. 
1596 — Schartzemberger, Johan — 

Ain New Formbiichlin bin ich gnandt 
Allen Kiinstlern noch vnbekandt 
Sih mich. lieber Kauffer recht an 
Findst drefflich, in dieser Kunffstan, 
Schon gsehnierlet gebdglet, auf glade, 
Und gold auch schon vos premen stadt. 
Es gibt dir ain prem umb ain Kleydt. 
Wenn mans recht aussainander schneydt 
Das kanst schneyden auss der Ellen 
Von Samat Seyden wie mans wolle, 
Ich mag braucht wern in allem landt, 
Wenn man mich ersucht mit verstandt. 
One volume petit in-8° oblong. Le titre ci-dessus est au millieu de la page 



358 A LACE GUIDE FOB MAKERS AND COLLECTORS 

dans un rectangle blanc entoure en haut et sur les cotes de rinceaux. On 
remarque en haut a gauche les armes d'Autriche, a droite celles d'Espag- 
ne. En bas trois compartirnents formes par des arcs surbaisses repo- 
sant sur des colonnes. Dans celui de gauche, une feinme travaillant a un 
petit metier de basse lisse, dans celui du milieu un homme brodant, dans 
celui de droite deux femmes travaillant a 1 'aiguille. Tout l'exemplaire 
est compose de planches ou le dessin est en blanc, s'enlevant sur un fond 
rouge brique. Le texte, les explications et la notice sont imprimes en 
noir. Gedruekt in der Keiserlichen Reickstatt Augsburg durch Johan 
Schartzemberger Formschneyder 1534. 20 feuillets non cotes et 38 plan- 
ches de broderies. Graceful arabesque borders. Bibliotheque Nationale. 

1597 — Schinnerer, L. — Lehrgange fur Weisstickerei und Knupfarbeit nebst ein- 
em Anhang stilvoller Handarbeiten. Stuttgart, Deutsche Verlags An- 
stalt, 1893. 

1598 — Schirek, Carl — Zur Gesehiehte der Spitzenerzeugung in Mahren. Mittheil. 
des Mahrischen Geiverbe Museums in Brunn, 1895, No. 7. 

1599 — School of Art Needlework, South Kensington — Cat. of special exhib. of 
Needlework. 8vo. Lond., 1881. S.K. M. 

1600 — Schorn, 0. von — Die Spitzen geschichtliches und technisches. Kunst 
und geiverbe, Vol. VIII., p. 331. 4to. Niirnberg, 1874. S. K. M. 

1601 — Schramm, E. K. — Die alte Tondernsche Spitzenindustrie. Daheim, April 
15, 1905, Leipzig. 

1602 — Schroedter, A. — Neue Muster fur Schnur Stickerei, 4to. Frankfurt, 
n.d. S. K. M. 

1603 — Schultz, C. F. — Sammlung der "Wertvollstern Spitzen Ostreichischer Par- 
amento. Plauen, C. F. Schultz & Co., 1907. 

1604, Schultz, H. — Muster-Sammlung alter Leinen-stickerei. Sm. 4to. Leipzig. 
1887. S. K. M. 

1605— Schiitte, Marie— Alte Spitzen. Berlin, R. C. Schmidt & Co., 1914. 

1606 — Schiitte, Marie — Alte Spitzen, am Anlass der Spitzenausstellung im staed- 
tischen Kunstgewerbe Museum zu Leipzig 1911 herausgegeben. Three 
large portfolios with superb plates. 

1607— Scott, Anna Dike— The A. D. Scott Collection of Old Lace, a Catalogue. 
Boston, Thomas Todd, 1905. 

1608— Scott, E.— Flowers in Point Lace. Pub. by Win. Barnard, obi. 4to. 
Lond., (1873). S. K. M. 

1609 — Scott, Gladys Annie, at Londonderry — Projets de dentelles modernes. 
Art applique, 2e annee, Paris. 

1610— Search for Old Lace in Venice, A— The Catholic World, March, 1876, New 
York. 

1611 — Sebillot, Paul — Legendes et curiosites des metiers — Les Dentellieres. Paris, 
Ern. Flammarion, n.d. 

1612 — Sedeyn, Emile — La Dentelle Francaise au Musee Galliera. L'Art decoratif, 
May, 1904, Paris. 

1613 — Sedgwick, Miss — A series of upwards of 160 original pen and ink draw- 
ings of designs for lace, in various styles, 1828, 



BIBLIOGRAPHY 359 

1614 — Seemann, E. U. — Em new Modelbiicli, etc. durch Heinrich Steyner. Augs- 
burg, 1534 — Facsimile edition, Leipzig, E. U. Seemann, 1889. 

Seemann Reproductions — See Nos. 1614, 1714. 

1615 — Seguin, J. — La Dentelle, histoire, description, fabrication, bibliograpbie. 
Woodcuts and 50 Phototypograpbic plates, fol. Paris, 1875. S. K. M. 

1616 — Seguy, E. A. — Ornamentation for Textiles. Paris, n.d. One vol. folio, 
original boards. 20 plates in black and colors, with 4, 6, 8 or 9 designs. 

1617 — Seigfried, L. M. — Braids for Lace-Making. Harper's Bazaar, V. 33, pp. 
2262-2263, Dec. 29, 1900. 

1618 — Seigfried, L. M. — Lace-making. Harper's Bazaar, V. 35, pp. 176-177, 
June, 1901. 

1619 — Seigfried, L. M. — Lace-making as an Art. Harper's Bazaar, V. 33, pp. 
1403-1407; V. 34, pp. 246-247; pp. 1002-1003, Sept. 29, 1900, Jan. 26, 
1901, Apr. 13, 1901. 

1620— Seigfried, L. M.— Lace Work. Harper's Bazaar, V. 38, pp. 814-816, Aug- 
ust, 1904. 

1621 — Seillac, Leon de — La Greve des Tullistes de Calais. Musee social, No. 4, 
1901, Paris. 

1622 — Selmersheim, Mine. Pierre, at Paris — Cols et empiecements en dentelle et 
broderie. Art applique, Ire annee, Paris. 

1623 — Senneville, P. — Patrons de broderies. Gazette des Beaux-Arts, 1873, 
Paris. 

1624 — Sera, Domenico da — Libbretto novellamete coposto p. maestro Domenico 
da Sera detto il Franciosino : dove si appara et insegna a tutte le nobili et 
leggiadre giovanette di lavorare di ogni sorte di punti : Cusire, reccamare, 
et ultimatamete far tutte qlle vaghe et belle opere : che si appartegono alle 
vertuose et lode voli fanciulle : et quai se diletta no di far con le sue mani 
alcuna gentilezza : et oltre dicio il detto libretto e molto utile a gli tessadri ; 
che sogliono lavorare di seta. Stampato in Leone, MD et XXXII, del 
mese Aprile. In-4° gothique. Ce titre est inscrit dans le milieu de la 
page, voir le n° ci-clessus pour la description des gravures sur bois qui 
ornent ce titre. Ce sont iclentiquement les memes. Verso, l'avis au lec- 
teur au-dessous duquel on voit trois petites gravures sur bois. Celle de 
gauche represente un carre dans lequel on voit une rose, celle de droite un 
carre dans lequel on voit un ceillet de poete. Celle du milieu est un ecus- 
son avec une croix et le monogramme de Dominique de Sera. Au verso 
d'une page, une ballade - de 28 vers avec le refrain: A gens qui besongnent 
de l'aiguille. Au-dessous de la Ballade, la devise: Mieulx que jamais. Et 
au-dessous: Imprime a Lyon, L'an de grace mil cinq cens trente et deux, 
le xij jour du mois d'auril. Domenicus de Celle fecit. 40 planches de 
broderies. Edition inconnue d'un ouvrage infiniment rare, dont Brunet 
n'indique qu'une edition de 1583 avec un titre en Francais cite par Du Ver- 
dier. Vente Benedetto Maglione, Paris, 1894. 

1625 — Sera, D. de — Le livre de Lingerie, compose par Maistre Dominique de 
Sera, Italien, enseignant le noble & gentil art de l'esguille, pour besong- 
ner en tous points : utile & profitable a toutes Dames & Damoyselles, pour 
passer le temps, & euiter oysivete. Nouvellement augmente, & enrichi, de 



360 A LACE GUIDE FOR MAKERS AND COLLECTORS 

plusieurs excelents & divers patrons, tant du point coupe, raiseau, que 
passement, de 1 'invention de M. Jean Cousin, Peintre a Paris. A Paris. 
Chez Hierosme de Marnef, & la veufve de Guillaume Cauellat, au mont 
S. Hilaire a l'enseigne du Pelican. 1584. Avec privilege du Roy. In the 
Cat. d'Estrees, No. 8848, is Livre de Pourtraicture de Jean Cousin. 
Paris, 1637, in 4 fig. 4to, 28 ff., 51 plates of mediaeval design. Frontis- 
piece, three women and a child at work, on each side of the title a man 
and a woman at work under a trif oliated canopy. He gives at least eighty 
designs for the use and singular profit of many, "homines tant que fem- 
mes." Below, "Finis coronat opus." Then follows a "Balade" of 28 
lines. On the last page, the impresa of Cavellat, a pelican in its piety, 
"Mors in me vita in me." Bih. de 1 'Arsenal. 

1626 — Sera, D de. — Opera nouva, doue si insegna a tutte le nobili et leggiadre 
giovanette di lavorara di ogni sorte, di punti, cusire, reccamere, . . . 
Vinet. M. Pagan et Gr. da Fontaneto di Monferrta, 1543. 4°. Title and 
38 cuts. 

1627 — Sera, D. de — Opera nova, etc. 1543. Ongania Reproduction of No. 1626. 

1628 — Sera, Domenico da — Fede Opera Noua composta per Domenica da Sera, 
detto il Franciosino : dove si insegna a tutte le nobili et leggiadre gio- 
uanette di lauorare di ogni sorte di punti : Cusire, Recamare, et far tutte 
qlle belle opere, che si appartengono alle virtuose fanciulle: e qual si di- 
lettano di far co le sue main alcuna gentillezza, et canchora, molto vtile a 
gli tessadri che fogliono lauorara di seta, stampato in Venegia per Matio 
Pagan, sta in Fregeria e Oulielmo da Fontaneto di Monferrato 
MDXXXXVI. Petit in-4°. Ce titre est inscrit sur une draperie decoree 
en bas par une bordure de petits glands et fixee en haut par trois nceuds 
a un encadrement forme de rinceaux, en haut duquel on voit une petite 
figure de femme representant la Foi, agenouillee de profil a gauche et te- 
nant des deux mains devant elle un calice surmonte d'une hostie. Sur les 
cotes des petits amours debout ou assis sur les rinceaux. Dans le bas une 
tablette rectangulaire. Sur cette tablette on voit a droite une femme trav- 
aillant a un metier de basse lisse. A gauche une autre femme assise, 
ayant un ouvrage de broderie sur ses genoux et mesurant avec un compas, 
un modele que lui presente une femme debout devant elle. Au haut de ce 
titre, au-dessus de 1 'encadrement au milieu le mot Fede. En resume 24 
pages dont 46 planches de broderies. Domenico da Sera, publia des 1532 
a Lyon un recueil de patrons de dentelles. Vente Destailleurs, n° 1623 
du catalogue. II y aurait une premiere edition en 1543. Voir catalogue 
Pirovano, Rome, 1901. Vente Destailleurs, 1895. 

1629 — Sera, Domenico, da — Opera noua composta per Domenico da Sera detto il 
Franciosino : doue si insegna a tutte le nobili & leggiadre giuanette di 
lauorare di ogni sorte di puti: Cusire: Recamare, & jar tutte qlle belle 
opere : che si appartengono alle virtuose fanciulle e quarsi dilettano di far 
co le sue mani alcuna gentilezza & e anchora molto vtile a gli tessadri che 
sogliono lavorare di seta. Stampato in Vinegia per Matio Pagan sta in 
frezeria e Gulielmo da Fontaneto di Monferrato. M.D.XXXXVI. 4°. — 
leaves. Small, 45 plates. Reprinted by Ongania in 1879. 



BIBLIOGRAPHY 361 

1630 — Serena — Opera nova di recami (punti in chiaro e punti a filo). 1564. 

1631 — Serena — Opera nova di recami nello quale si ritrova varii & diverse sorte 
di pnnta in stnora & punti a filo. 1564. Ongania Eeproduction, 1879. 

1632— Sharp, Mary— Point and Pillow Lace. London, J. Murray, 1905. B. M. 
See S., A. M. 

1633 — Shepard-Wolff, Hanna MacLaren — Photographs of lace handkerchiefs 
made by Mrs. Shepard-Wolff, who spent 3,000 hours in the work finished 
in 1910. 16x16 inches, mounted. 

1634— Sherren, E. F.— The Art of Torser. 1849. 

1635 — Shoninger Bros. — Government inquiry of alleged undervaluations in lace 
cases being made. N. Y. Times, May 28, VII, 6 :6. 

1636 — Shorleyker, Richard — Here f oloweth certaine patternes of Cut-workes : 
newly invented and never published before. Also sundry sorts of spots, 
as flowers, Birdes and Pishes &c. and will fitly serve to be wrought, some 
with Gould, some with silke, and some with crew ell, in coullers: or other- 
wise at your pleasure. And never but once published before. London 
Printed in Sho-lane at the signe of the Faulcon, by Rich. Shorleyker. 4°. 
Title, 24 leaves, cuts; 1 p. conclusion. Musee Royale, Brussels. 

1637 — Shorleyker, Richard — Here followeth certaine patternes of Cut-workes; 
and but once Printed before. Also sundry sorts of Spots, as Flowers, 
Birds, and Fishes, &c, and will fitly serve to be wrought, some with Gould, 
some with Silke, and some with Gewell or otherwise at your pleasure. 
London: Printed in Shoe-lane, at the signe of the Faulcon, by Rich- 
ard Shorleyker. 1632. Obi. 4to. The copy in the Bodleian is probably due 
i to the above. It has no date and varies in title: "Newly invented and 
never published before," with "crewell in coullers," etc; and "Never but 
once published before." Printed by Richard Shoreleyker. 33 patterns 
and title. In the possession of Mrs. Marryat. "Maes y dderwen." — Bib. 
Bodleian. 

1638 — Shorleyker, Richard — A Schole-House for the Needle : Teaching by sun- 
dry sortes of patterns and examples of different kindes, how to compose 
many faire workes : with an addition, newly invented : placed in the be- 
ginning of the second booke, which being set in order and form, accord- 
ing to the skill & understanding of the workwoman ; will no doubt yeeld 
profit unto such [as] live by the Needle, and give good content to adorne 
the worthy. London Printed in Sho-Lane at the Faulcon by Richard 
Shorleyker, 1624. (On the second title) And are to be sould by John Gres- 
niand in Paules-alley at the sign of the Gunne. 4°. 2 titles, 6 pp. intro- 
duction, dialogue in verse, 32 leaves, cuts. Musee Royale, Brussels. 

1639 — Shorleyker, Richard — A Schole Howse for the Needle. Teaching by 
sundry sortes of patterns and examples of different kindes, how to com- 
pose many faire workes ; which being set in order and forme according to 
the skill and understanding of the workwoman will, no doubt yield profit 
unto such as live by the needle and give good content to adorne the worthy. 
London printed in Shoe Lane at the "Faulcon" by Richard Shorleyker, 
1632. To the Reader. Gentle Reader, I would have you know that the Diver- 
sities of Examples which you shall find in this " Schoole-howse for the 



362 A LACE GUIDE FOR MAKERS AND COLLECTORS 

Needle" are only but patterues which serve but to helpe and inlarge your 
invention. But for the disposing of them into forme and order of Workes 
that I leave to your own skill and understanding. And againe for your 
behoafe I have in the end of this booke made two scales or checker pat- 
terues which by enlarging or contracting into greater or lesser squares 
you may enlarge or make lesser any of the saide patterues and examples 
in the booke or any other whatever. 

1640 — Shrimpton, L. — How to Know Good Embroideries. Country Life. V. 23, 
pp. 59-60, January, 1913. 

1641 — Sibmacher, Johann (Reeueil de modeles pour le broderies et la tapis- 
serie) sans lieu ni date-li-4° oblong, cartonne. Ce volume, incomplet des 
2 premiers et du dernier feuillets fait partie de 1 'edition de 1597, II ren- 
ferme encore 2 feuillets de texte et 34 planches de modeles differents de 
ceux donnes dans le recueil ci-apres. Allemagne. Foulc Sale, June, 1914, 
No. 371, 110 frs. 

1642 — Sibmacher, J. — Modelbuch in Kupfer gemacht. Nuremberg, 1601. In-4°. 
Premiere edition de cet ouvrage. Jean Sibmacher le graveur en avait 
publie deja un autre en 1597. Bibliotheque Eoyale de Bruxelles. 

1643 — Sibmacher, J. — Modelbuch in Kupfer gemacht, etc. (Copper-plate en- 
gravings' for lace latterns, etc., 19 plates only.) Obi. 4to. Niirnberg, 
1601. S. K. M. 

1644 — Sibmacher, J. — Modelbuch in Kupfer gemacht Nurmberg, bei Michel Kuis- 
ner, 1601, by J. Sibmacher. The Victoria and Albert Museum possesses a 
copy of this edition in a contemporary binding of leather, stamped with 
small running ornament, a central arabesque, and the words Modelbuch — 
1601. Brussels, Bib. Roy.— 8847. 

1645 — Sibmacher, Johann — Newes Modelbuch In Kupffer gemacht darinen aller- 
hand'arth newer model von dun mittel, vnd dick aufzgeschidener arbeit 
auch andern kunstlichen Nehwerck zu gebrauchen mit uleisz Inn driick ver- 
fertigt. Mit. Rom. Kay. May Freyheit. Nurnberg, MDCI (1601). 
In-4" oblong. Ce titre est dans un cartouche, decore de mascarons, de 
tetes d'anges ailes. On voit en haut a gauche assise sur les rinceaux du 
cartouche, une femme une aiguille a la main, un metier tambour sur ses 
genoux. A droit une autre femme egalement assise, un metier reseau sur 
ses genoux. En bas sur une petite etiquette collee sur la page on lit : Zu 
Nurmberg Bey. Balthaser Laimoxen zuerfragen. Avertissement au lec- 
teur. Au bas duquel on lit: Johann Sibmacher Gradirer und Burger das 
elbsten. Rien au verso. Page non cotee. En haut de la page dans un 
cartouche decore a droite et a gauche de tetes ailees, 4 vers allemands. Au- 
dessous de ce cartouche trois femmes dans un jardin. Celle du milieu est 
assise au pied d'un arbre contre lequel elle s'adosse. Elle travaille a un 
ouvrage de broderie. Au-dessous d'elle sur le terrain on lit le mot In- 
dustria. Celle de droite de profil a gauche, personifie 1 'ignorance comme 
l'indique le mot ignavia, qu'on voit a ses pieds. La troisieme femme de 
profil a droite personnifie la sagesse, et on lit a ses pieds le mot. sophia. 
Au-dessous de cette gravure on lit: Cum Privilegio Ro. Cces. Majestatis. 
Johan Sibmacher Noriberg fecit et excudit. Aij, dialogue entre 1'indus- 



BIBLIOGRAPHY 363 

trie, 1 'ignorance et la sagesse. Avertissement au lecteur. Puis commen- 
cent les broderies. Chaque page en contient deux, l'une au-dessus de 
1 'autre. 58 planches. En resume, un titre, un frontispice, liuit feuilles de 
texte et 58 planches de broderies. Un certain nombre de ces dessins sont 
inspires de la Corona de Vecellio. Vente Tross, 1866, Vente Destailleurs, 
1895. 

1646 — Sibmacher, Johann — Newes Modelbuch In Kupf er gemacht, darinnen aller- 
band art newer Model von Dim Mittel vnd Dick, auszges cbnidener arbeit 
audi andern Kunstlichen Neb werck zu gebrauehen, mit vleisz. Inn druck 
verfertig. Mit. Bom. Kaij. mai j. Freibeit. Nurnberg, MDCIIII (1604). 
Meme edition que celle decrite ci-dessus avec un millesime different 1604 
au lieu de 1601 et en plus apres le titre une epitre a Marie Elisabeth, com- 
tesse Palatine du Rhin, Nuremberg, le 3 mars 1601. Vente Piot, 1891. 
Stockholm. Royal Library. In the same library is a work, without title- 
page or date, for "broderies et de tous autres besongnant a 1 'aiguille," 
by Hieronymus Cock, containing, with designs of every description, a few 
patterns for Spanish point of great beauty. Obi. 4to, 58 plates carefully 
engraved upon copper. Title-page surrounded by a richly ornamented 
border, with two figures, one sewing, the other at embroidery; also a sec- 
ond ornamented frontispiece, J. Sibmacher, citizen and engraver. Nurem- 
berg, German Museum. 

1647 — Sibmacher, J. — Newes Modelbuch in Kupfer gemacht, etc. (Copper-plate 
engravings for lace patterns, etc., 37 plates only.) Obi. 4to. Nurnberg, 
1604. Facsimile reprint (two titles and 58 designs). Obi. 4to. Edited 
by Dr. J. D. Georgens, Berlin, 1874. Facsimile reprint (two titles and 36 
designs.) Berlin, 1881. S. K. M. 

1648 — Sibmacher, Johann — Newes Modelbuch in kupffer gemacht. Darnen al- 
lerbanf Arth Newer Model von Dun, Mittel und Dick ausgeschnidener Ar- 
beit auch andern Kunstlichen nehwerck zu gebraucben, mit vleisz in Druck 
verfertigt Nurnberg, 1602. In-4°, oblong cartonne. Ce volume se com- 
pose du titre grave ci-dessus, contenu dans un grand cartouche, de 2 
feuillets imprimes de dedieace a, la Princesse Marie Elizabeth, pfalsgrave 
du Rhin, d'une figure ou se voient dans un jardin les 3 personnages So- 
phia, Industria et Ignavia qui ont ensemble un entretien fort interessant, 
qui occupe les 5 feuillets suivants. Enfin apres un faux titre viennent les 
planches de modeles de broderie au nombre de 57 (sur 58, le dernier man- 
que) ; chaque plancbe off rant 2 ou plusieurs dessins. Foulc sale, June, 
1914, No. 372, 450 frs. 

1649 — Sibmacher, Johann — [Another edition.] Jn Kupffer gemacht . . . Nurn- 
berg, MDCII. Johann Sibmacher. Mit. Rom : Kaij : Maij Freybeit. B. K. M. 

1650 — Sibmacher, Johann — Diese naehfolgende Model Kdnnen auff mancherley 
Arth genahet werden, Als mit der Zopffnath, Glatt, oder Creutz vnd Ju- 
denstich, auch auff der Laden zu wircken, vnd sonderlich zu dunn auss- 
gesschnittener Arbeit, wie es etliche nennen, furnemlich zu gebrauchen, 
&c. This titlepage also is found with the 35 plates of the 1597 edition de- 
scribed above. "Schon Neues Modelbuch," etc. 

1651 — Sibmacher, J. — Schon Neues Modelbuch von allerley lustigen Modeln nach- 



364 A LACE GUIDE FOR MAKERS AND COLLECTORS 

zunehen Zuwiircken vn Zusticke: geniackt in Jar Oh: 1597. Zn Niirm- 
bergbey Balthaser Ca'unoxvn • Zuerfragen. Io. Sibmacher f. 4°. Engraved 
title and 35 plates. The titlepage has the monogram. B. K. M. 

1652 — Sibmacher, J. — Schon nenes Modelbucb von allerley lustigen Modem nac- 
znnehen zn wurcken un zn sticke, (Copper-plate engravings for lace pat- 
terns, etc., 20 plates only). Obi. 4to. Nurnberg, J.597. S. K. M. 

1653 — Sibmacher, J. — Schon neues Modelbucb, etc. 1597. Facsimile reproduc- 
tion of the above complete, 35 plates and engraved title. Obi. 4to. Wien, 
1866. 

1654 — Sibmacher — Osterreickisches Museum (K. K.) Hans Sibmacher's Stick 
— und Spitzenmusterbueh, 1597. Facsimile, 3d edition, Vienna, Carl Ger- 
olds Solm, 1882. 

1655 — Sibmacher — Stick-Muster, nach Motiven aus dem 16 ten Jabr hundert 
von Hans S. . . . herausgegeben und in Farben gesetzt von Theodor 
Wendler. 4to. Berlin, 1882. S. K. M. See 1654. 

1656 — Sibmacher — Another Facsimile reproduction of No. 1651. Obi. 4to. Ber- 
lin, 1885. S. K. M. See 1652. 

1657 — Sibmacher, Joh. — Sticb und Spitzen-Musterbuch. 1597; reprinted 1887. 

■ Sibmacher — See Laimoxen. 

1659 — Sigismund — Schon newes Modelbucb von hundert und achtzig shonen 
Kunstreichen und gerechten Model, teusche und welsche auff maucherley 
Art konnen geneet werden, etc. Franckfurt am Mayn, in Verlegung Sig- 
ismund — 1607. Petit in 4° derelie. Becueil d'un titre et 50 planches de 
modeles de broderies et dentelles. Le titre est legerement colorie et orne 
d'une gravure sur bois representant l'interieur d'un atelier ou des femmes 
font de la broderie. Le dernier f euillet est coupe vers le milieu. Foulc 
Sale, June, 1914, No. 394, 95 frs. 

1660 — Silljan, Elise — Norwegian Lace and Embroidery. 

1661 — Singleton, Esther — Lace and Lace-making. The Mentor, May, 1917, New 
York. 

1662 — Sketchley, B.E.D. — Buckinghamshire Lace. Art Journal, June, 1905, pp. 
177-181. 

1663 — Smith, K. L. — Revival of Fireside Industries. New England Magazine, 
n.s., V. 29, pp. 442-449, December, 1903. 

1664 — Smith, L. A. — Lace-makers of Belgium. Current Literature. V. 31, p. 723, 
December, 1901. 

1665 — Sociedad Espanola de Amigos del Arte. Madrid — Artes Graficas "Ma- 
ten" Paseo del Prado, 34, 1915. 

1666 — Societe de Part aneien en Belgiqne — Broderies, etc. Plates with letter- 
press. Fol. Bruges. (1883). S. K. M. 

1667 — Somascho, G. A. — Nova Esposizione de Recami et Dessegni. Alia Molto 
Illustre Signora Ippolita Manfredi. In Venetia. Appresso Giacomo An- 
tonio Somascho. (c. 1602.) 4°. 14 leaves, engraved. V. & A. M. 

1668 — Somascho, Giac. Ant. — Nova esposizione de Recami et Dessegni. In Vene- 
tia. Facsimile. 

1669 — Sombart, W. — L'industrie a domicile. (Extrait clu Handworterbuch der 
Staatswissenschaften.) 



BIBLIOGRAPHY 365 

1670 — Something about Lace. The Catholic World, April, 1873, New York. 
1671 — Soulier, Gustave — La Broderie etlaDentelle al'Exposition (Paris, 1900). 

Art et Decoration, 1901, Paris. 
1672 — Soulier, Gustave — Dentelles. L' Art decoratif, March, 1902, Paris. 
1673 — South Kensington Museum — Catalogue. 
1674 — South Kensington Mus. — Cat. of the special exhib. of works of art on 

loan, 1862. (Tissues, etc. p. 249, by Eev. D. Rock.) 8vo. London, 1863. 
1675 — S. K. Museum Cat. of the special loan exhib. of Decorative Art Needle- 
work made before 1800. Photos. 4to. Lond. 1874. 
1676 — S. K. Museum. — Classified list of photographs of works of decorative art 

in the South Kensington Museum, and other collections. (Lace, p. 288.) 

8vo, London. 1887. 
1677 — South Kensington Museum — Kendrick's Catalogue of Samplers in the 

South Kensington Museum. 
1678 — South Kensington Museum — List of Books on Lace : Victoria and Albert 

Museum. 85 pp. London, 1888. 8vo. B. M. 
1679 — South Kensington Museum — List of Samplers in the Victoria and Albert 

Museum. (Board of Education, S. Kens.) London, 1908. 8vo. 
1680 — South Kensington Museum — Photos, of embroidery, etc. A series, con- 
sisting of 78 specimens, exhibited at the S. K. Mus. during the special loan 

exhibition of Decorative Art Needlework, 1873. 
1681 — South Kensington Museum — Photos. Mechlin lace, 18th century in S. K. 

Mus. 10 photos. Russian lace belonging to the Duchess of Edinburgh. 

16 photos. 
1682 — South Kensington Museum — Portfolios of Industrial Art. Colored illus. 

fol. Lond. 1881, etc. 
1683 — South Kensington Museum — The Industrial Arts. (Lace, p. 257). Illus. 

(S.K. Mus. Art Handbooks.) 8vo. London. 1876. 
1684 — South Kensington Museum, London, Supplemental Descriptive Catalogue 

of Specimens of Lace 46 pages, 1891. B. M. 
1685 — Sparrow, W. S. — Leek School of Embroidery and its Work. Magazine of 

Art. V. 26, pp. 550-554, October, 1902. 
1686 — Specchio, II — Di pensiere, delle belle donne dove si vede varie sorti 

di punti, cioe, punti tagliati, gropposi, &c. Venetia, 1544. In 4to. Quoted 

in Cat. Cappi, of Bologna, 1829. 
1687 — Specifications relating to lace-making, etc., Abridgements of — London, 

1879. 
1688 — Specimen of Point Lace made at the Convent of Poor Clares, Kenmare, 

County Kerry. The Art Workers' Quarterly, July, 1902, London. 
1689 — Spellewerk — Blaetter fur Kunstgewerbe, 1878, Vienna. 
1690 — Spitze, die historische und neuzeitliche — 29 Lichtdruektafeln. Plauen, 

1910. 
1691 — Spitzen, Alte — 30 Blatt Photographien nach Originalen, Venezianische, 

Guipure — , Valenciennes — und a. Spitzen. Fol. (Paris) Nachbildgn. her- 

vorragend schoner Stiicke. 
1692 — Spitzenfacher. Illustrirte Zeitung, March 23, 1878, Leipzig. 



366 A LACE GUIDE FOR MAKERS AND COLLECTORS 

1693 — Spitzenkragen im Charakter der veuetianiscken Eelief-Spitzen, entworfen 
von Prof. J. Storck, ausgefiihrt von Jos. Strarnitzer in Wien. Blaetter 
fur Kunstgewerbe, 1879, Vienna. 

1694 — Spitzenkloppeln, — Vom — Daheim, 1883, No. 9, Leipzig. 

1695 — Spitzenmappe. Chr. Stoll, Plauen, 1909. 72 pages. (Collection of Kur- 
sheedt Mfg. Co., N. Y.) 

1696 — Spons 's Encyclopaedia of the Industrial Arts, Manufactures and Commer- 
cial Products — (Lace, Division IV., p. 1200.) 8vo. London, 1879-80. 
S. K. M. 

1697 — Staffe, Baronne — Les Hochets feminins. La Dentelle, etc. Paris Ern. 
Flammarion, n.d. 

1698— -Staines, F. J. — Nottingham Lace Edgings. The Artist, March, 1900. Lon- 
don. 

1699 — Stanley, K. — Needlework and Cutting; being hints, etc., for the use of 
Teachers. (Illus.) 8vo. Lond. 1883. S. K. M. 

1700 — Stassof, W. — L'Ornement National Russe. Broderies, Tissus, Dentelles. 
(Coloured illus., text in Russian and French.) Fol. St. Petersburg, 1872. 
S. K. M. 

1701 — Statutender Vereeniging "De Nederlandsche Kantwerkschool" te's Grav- 
enhagen, gesticht door Jhr. Ernest van Loon. 

1702— Staub, George— Pattern Book. St. Gall, 1593. 

1703 — Stegmann,H. E. L. — Stickerein, Spitzen und Pasamentierarbeiten. Nur- 
emberg, 1901. 

1704 — Sterling, A. — Antique and Modern French Lace. Chautauquan, V. 34, pp. 
580-584, March, 1902. 

1705 — Sterling, A. — Cut-works, New and Old. Chautauquan, V. 35, pp. 496-501, 
August, 1902. 

1706 — Sterling, Ada — Dilettanteism of Fine Lace. New York, "Evening Post," 
Saturday, Feb. 9, 1901. 

1707 — Sterling, A. — French Lace, Antique and Modern. Chautauquan, V. 34, p. 
580. 

1708 — Sterling, Ada — Italian Laces Old and New. Chautauquan, V. 34, pp. 16-21. 

1709— Sterling, A.— Making of Venice Lace. Chautauquan, V. 34, p. 243-246. 

1710 — Sterling, A. — Plea for American Needlecraft. Atlantic, V. 86, pp. 557- 
562, October, 1900, same cond. Current Literature, V. 29, pp. 607-608, 
November, 1900. 

1711 — Stevens, Amy, at Battersea — Dessin pour ombrelle en dentelle de Carrick- 
macross. Art applique Ire annee, Paris. 

1712 — Stewart, F. and M. E. Bradley — Decorations for Towels. Good House- 
keeping, V. 54, pp. 98-102, January, 1912. 

1713 — Steyner, H. — Ein New Modelbuch auff die Welschen monier. Gedruckt zu 
Augspurg durch Heinrich Steyner. M. D. XXXIIII. 4°. Title and 55 
cuts. 

1714 — Steyner, H. — Ein New Modelbuch, etc., 1534. Seeman Reproduction of No. 
1713. Leipzig. 1889. See 1614. 

1715 — Stick- Album des "Berliner Modenblatt." Sammlung farbiger Muster- 



. BIBLIOGRAPHY 367 

blatter fur Handarbeiten. (Patterns for needlework.) Fol. Berlin, 
(1880.) 

1716 — Stilarten der Spitzen, in verscbiedener Auffassung und neuer Combination, 
n.t.p. Plauen, C. F. Schultz & Co., 1908 (?). 18 pages. (Collection of 
Kurscbeedt Mfg. Co., N. Y.) 

1717 — Stocking, Mary E. — Hand-made Laces. Pratt Institute Monthly, V. 8, No. 
4, February, 1900, pp. 83-88. 

1718 — Strange, Edward F. — Early Pattern-Books of Lace, Embroidery and 
Needlework. Transactions of the Bibliographical Society, December, 
1904, London. 

1719 — Strange, E. F. — Needlework at tbe Liverpool Scbool of Art. Internation- 
al Studio, V 24, pp. 147-149, December, 1904. 

1720 — Strassen, Melcbior zur — Spitzen des 16. bis 19. Jebrhunderts aus den 
sammlungen des Kunstgewerbe Museums zu Leipzig. Leipzig, L. W. 
Hiersemann, 1899. 

1721 — Strassen, zur — Spitzen, Ornamentale und Kunstgewerblicbe Sarnmelmap- 
pe. Series 4 & 5, 25 plates eacb. Hiersemann, Leipzig, 1893-1894. (Col- 
lection of Kursbeedt Manufacturing Co.) 

1722 — Strauben, G. — New Model Bucb darinnen allerley G-attung scboner Modeln 
der newen aussgescbitnen Arbeit auff Kragen, Hempter, Jakelet und der- 
gleicben zu newen, so zuvor in Teutscblandt nicbt gesehen. Allen tbugent- 
samen Frawen und Jungkfrawen, Natterinnen, aucb alien audern so lust 
zu solcber kunstlicben Arbeit haben, sebr dienstlicb. Getruekt in uerle- 
gung George Strauben, von S. Gallem, Anno 1593. Printed for tbe pub- 
lisber, G. Strauben. A reprint of tbe tbird book of Vecellio's Corona. 
V. & A. M. 

1723 — Stringber, Vittorio — L'industria dei merletti nelle campagne, Pp. 75. 
Eome, G. Bertero, 1893. B. M. 

1724 — Studies in Modern Lace Making. 1898. (Collection of Kursbeedt Manu- 
facturing Co., N. Y.) 

1725 — Sturgis, Eussell — A study of tbe Artists' way of working. New York, 
Dodd, Mead and Co., 1905. 

1726 — Sybil Carter Indian Mission and Lace Industry, The — (New York, March, 
1905.) 

1727 — Sylvia — Book of Macrame Lace. Containing Illus. of many new and orig- 
inal designs. 8vo. London, 1883. S. K. M., B. M. 

1728 — Szontagh, A. von — Die Csetneker Spitzen. Plauen, O. Haebler, 1911. 

1729 — T. — Ueber Styl in der Spitzen-Industrie. Blaetter fur Kunstgewerbe, 
1875, Vienna. 

1730 — Tabin, B. — New Kunstlichs Modelbucb Von allerhand artlichen vn gerech- 
ten Moledn auff der Laden zu wircken, oder mit der zoppffnot. Creutz 
vnd Judenstich vnd anderer gewonlicher weifs zu macben : alien model- 
wurckerin, Naderin, vnnd solcber Modelarbeit geflissenen Weibsbildern 
schr dienstlich vnnd zu andem mustern an leytlich vnnd verstandig. Auff 
ein newes wider getruekt vnd mit vielen newer model gemehret. Mit 



368 A LACE GUIDE FOR MAKERS AND COLLECTORS 

• 

Roin. Keys May. Freylieit. Bey. B. Tabin, 1582. In-4° oblong. 48 feud- 
lets, le dernier est blanc. Un titre, un feuillet eontenant des vers et 45 
planches de broderies, imprimees au recto seulement. Musee des arts et 
de l'industrie de Dresde. 

1731 — Tabin, B. — New Kunstlichs Modelbuch, von allerhand artlichen vn gerech- 
ten Modeln, auff der laden zu wircken, oder mit der Zopffnot Creutz vnd 
Jndenstieb vnd anderer gewonlicher weifs zu machen : Allen model wurck- 
erin, Naderin vnnd soldier modelarbeit geflissenen Weisbildern, schr 
dienstlicb, vnnd zu andern mustern and leytlich vnnd verstandig. Auff ein 
newes wider getruckt vnd mit vielen newer model gemebret. Mit Rom. 
Keys. May. Freyheit. Bey. B. Tabin, 1588. In-4° oblong. Titre in- 
scrit sur une double tablette occupant le haut de la page et entouree de cuirs 
roules, de rinceaux, de fruits, de petits genies. En bas dans une cliambre 
des femmes travaillant a 1 'aiguille. L'une d' elles a gauche, de profil a 
droite, son chien a ses pieds montre une piece d'etoffe a une femme debout 
qui se penche vers elle. Au meme plan et a cote une femme assise vue de 
dos. Au fond deux femmes travaillant pres d'une fenetre ou se voit un 
homme accoude. Gravure sur bois de Tobias Stimmer. A2, page encadree 
par un nielle sur bois. Piece de vers sur deux colonnes. Verso fin de la 
piece de vers. En resume 48 pages dont un titre, une feuille pour les vers 
et une page blanche a la fin. 45 planches de broderies imprimees au recto 
seulement. Bibliotheque Nationale. 

1732 — Tack — Discours prononce a la Chambre des Bepresentauts le 2 avril, 1884. 

1733 — Tagliente, Antonio — Esempio di ricami. Venice, 1528. 

1734 — Tagliente, G. A. — Esemplario Nuouo Che Insegna A Le Donne a cuscire 
. . . Stampato in Vinegia per Giouanantonio et i Fratelli da Sabbio. 
MDXXXI. 4°. 55 cuts, etc. B. K. M. 

1735 — Tagliente, G. — Esemplario nuovo che insegna a le Donne a cuscire, a rac- 
camare et a disegnare a ciascuno etc. Vinegia, 1531. (Facsimile reprint, 
Boy. 8vo. Ongania, Venice, 1879.) S. K. M. Metro. Mus. 

1736 — Tagliente, Giovanni Antonio — Opera nuova che insegna alle donne a cusire 
a raccamare, et a disegnar, a ciascuno Et La ditta opera sara di molta utilta 
ad ogni artista, per esser il disegno ad ognuno necessario, laqual e intitolato 
essempio di reccami. Con gratia et Privilegio, MDXXVII. Ce titre est 
en haut d'une page au bas de laquelle on voit quatre compartiments, deux 
en haut, deux en bas. Dans celui d'en haut a gauche, deux femmes assises 
et travaillant a 1 'aiguille, une troisieme femme debout a gauche, tenant 
un panier a la main. Dans le compartiment de droite, deux femmes as- 
sises et travaillant a, un metier. Dans le compartiment du bas a gauche, 
une femme montre un ouvrage de broderie a un homme coiffe d'une 
toque a plumes. Pres d'eux une femme assise. Dans le compartiment de 
droite, une femme travaillant a uu metier. Toute cette composition y coni- 
pris le titre est entouree d'une trait carre et d'un filet. Verso Un homme 
barbu, vetu a l'antique, est assis de profil a, droite sur un tertre. II tient 
des deux mains, levees devant lui un sextant avec lequel il vise le ciel, ou 
Ton voit la lune et les etoiles. A ses pieds a, droite, un compas, un livre 
et une planche sur laquelle sont des figures de geometric Dedicace : A 



BIBLIOGRAPHY 369 

qualcunque nobili et illustre Madonna et a ciaseun altro inoderato et can- 
dido lettore, Giovanni, Antonio Tagliente. Page divisee en quatre com- 
partiments carres. Dans celui dn haut a gauche, des fleurs, dans celui de 
droite un gland de chene et des feuilles. Dans les deux du bas des entre- 
lacs. On lit au bas de cette page 5 lignes de texte. Page non cotee, verso, 
un phylactere avec les mots : La virtv al Huomo sempre li rista ne morte 
nel po privar di questa. Sur un autre phylactere : Tu vedi. Page non 
cotee, des pkylacteres portant. Occhi piangete, acopagnate il core. Inclita 
virtus. Verso. — Page non cotee, verso. — Le verso precedent et le recto de 
la page suivantene font qu'un seul et meme dessin: Orphee charmant les 
oiseaux et les animaux. Verso, une tortue dans une guirlande de feuillage, 
entouree de rubans. Au-dessous sept lignes de texte. Au verso, un me- 
daillon rond dont la bordure renferme un entrelac. Dans le milieu de 
ce medaillon des animaux antour d'un lac. Une licorne plonge sa corne 
dans Peau et se desaltere. En haut sur un pkylactere les mots : Virtus im- 
pavida. En bas six lignes de texte, Vente Bertin. Vente Yemenitz. Bib- 
liotheque Nationale. ' 

1737 — Tagliente, Giovanni Antonio — Opera nova che insegna a le donne, a cus- 
cire, a raccamare, et a disegnare ciascuno. Et la detto opera sara di 
grande utilita ad ogni artista per esser il dissegno a ogni uno necessario, 
laqual e intitolata, Esempio di raccami. 4to, 23 ff. 36 plates. Title in red 
Gothic letters ; beneath four woodcuts representing women at work. De- 
dicace de 33 lignes de texte. A qualcunque nobile et illustre madonne & a 
ciaseun altro moderato et candido lettore, Giouanni, Antonio Tagliente. 
Then follows a most miscellaneous collection of what he terms, in his dedi- 
cation "fregi, frisi, tondi maravigliosi, groppi moreschi et arabeschi, 
ucelli volanti, fiori, lettere antique, maiuscoli, & le francesche," etc., three 
pages very much like the pictures in a child's spelling book, rounds (tondi) 
for cushions, and two pages representing hearts and scrolls ; hearts trans- 
fixed, one with an arrow, another with a sword, a third torn open by two 
hands, motto on the scroll. Then follow six pages of instructions, from 
which we learn the various stitches in which these wonderful patterns may 
be executed, "damaschino, rilevato, a filo, sopra punto, ingaseato, Cipri- 
oto, croceato pugliese, scritto incroceato, in aere, fatto su la rate a mag- 
liata, desfilato, & di racammo, " to be sewn in various coloured silks, gold 
and silver thread, or black silk, for "collari di huomo & di donna, camis- 
ciole con pettorali, frisi di contorni di letti, entemelle di cuscini, frisi di 
alcun boccassina, & scufie," etc. On the last page, "Stampa in Vineggia 
per Giovan Antonio Tagliente & i Fratelli de Sabbio. 1530." Brunet 
gives an edition dated 1528. Page non cotee, finissant par les mots : 
Stampato in Venegia per Giouantonio Taglienti & i fratelli da Sabbio, 
MDXXX (1530). En tout 28 feuillets. 47 planches de niodeles. Tag- 
liente est aussi l'auteur d'un traite de calligraphie contenant divers orne- 
ments et chiffres entrelaces, qui se retrouvent dans ce volume de dentelles. 
Vente Destailleurs, 1895. Vente Foulc, 1914, Paris, frs. 500. Cav. Merli, 
1528 (?) Genoa. Bib. Nat. 

1738— Tann, S. PL— Drawn Thread Work. The Art Workers' Quarterly, October, 
1903, London. 



370 A LACE GUIDE FOB MAKERS AND COLLECTORS 

1739 — Tariff, protest — Lace and Embroidery Importers' Association of New 
York on appraisement of Swiss embroideries, N. Y. Times, May 31, 13 :3. 

1740— Taylor, Eliza A.— Priscilla Irish Lace Book. 

1741 — Taylor, J. — Glasgow School of Embroidery. International Studio, V. 41, 
pp. 124-134, August, 1910. 

1742 — Tebbs, Augusta Louisa — The Art of Bobbin Lace. London, Wm. Barnard, 
1860. Later edition— Chapman & Hall, 1907. B. M. 

1743 — Tebbs, Louisa and Bosa — The Art of Bobbin Lace. Supplement. London, 
1911. 

1744 — Tebbs, Louisa A. — The New Lace Embroidery. 1905, London. B. M. 

1745— Tebbs, L. A.— New Punto Tagliato Embroidery. 3rd ed. 1908. 

1746 — Teneriffe Lace-Making — Healy Method. (Collection of Kursheedt Manu- 
facturing Co., N. Y.) 

1747 — Teschendorf, T. — Kreuztichmuster fur Leinenstickerei. Heft 1 :10 Far- 
bendrucktafeln. Polio. Berlin, 1879. 

1748 — Teschendorff, Toni — Kreuzstich- Muster fur Leinenstickerei. Berlin, E. 
Wasmuth, 1884 and 1891. 10 color plates. 

1749 — Testard, Maurice — Joannes Chaleye et la Dentelle du Puy. Art decora- 
tif, Paris, 1913. Vol. 29, pp. 51-60. 

1750 — Thys, Ch. M. T. — Broderies et Tissus anciens, trouves a Tongres. (Acad. 
d'Archeologie de Belgique.) 8vb. Anvers, 1869. S. K. M. 

1751— Tincker, M. A.— Lace. Catholic World, V. 17, p. 56. 

1752 — Tixier, E., at Paris — Eventail. Art applique, 1 re annee, Paris. 

1753 — Tobin, Jeanie, at Cork — Dentelles au crochet. Projets de dentelles. Art 
applique, Ire annee, Paris. 

1754— Tordois, M— Coup d'Oeil sur Valenciennes de Pan IX a, l'an XIII. 

1755 — Toretto, Giuseppe — Lucidario di Eicami di Giuseppe Toretto or Torello 
Venezia, 1556. In-4°. Catalogue de Lucques, 1816. 

1756 — Torond, H. — Designs for Crochet. No date. 

1756a-Touche, Victor — Handbook of Point Lace. London, Wm. Barnard, 1869. 
Illus. 

1757 — Townsend, L. — Collecting Old Samplers. American Homes, V. 10, pp. 361- 
362, October, 1913. 

1758 — Tozzi, Paolo — Gbirlanda di sei vaghi fiori scielti da piu famosi Giardini 
d 'Italia, raccolti da Pistro Paolo Tozzi. Primo libro. Belle lettere Mod- 
erne mansioni dotte sententie leggiadri lauori noui merli usati numeri. In 
Padoua alia libreria del Giesu. Con Privilegio. In-8° oblong. Les mots 
Pietro Paolo Tozzi sont inscrits dans une guirlande de fleurs des deux 
cotes de laquelle on voit deux moutons, l'un a droite, l'autre a gauche. De- 
dicace : Alia molto Ill r a Rever da Sig ra Maria Ginevra Macchiavelli signora 
Mia Colendissima . . . di Padoua il di 1 octobre, 1604. Pietro Paolo 
Tozzi. Bomano. Avertissement au lecteur. F. Paolo Frassinelli da Bo- 
logna dell' ordine di sant' agortino. Cinq pages renferment des instruc- 
tions et des formules de salutations propres a chaque situation sociale, 
a chaque degre de la hierarchie, une instruction pour la tenure des livres, 
une table de multiplication, etc. Puis commence la serie des modeles d'ecri- 
ture, d 'alphabets, sur le recto de chaque page, le tout dans des encadre- 



BIBLIOGRAPHY 371 

ments de dentelles, de guipure, qui font de ce livre un veritable livre a 
dentelle, rentrant dans le cadre bibliographique que nous etudions dans le 
present ouvrage. Ces planches sont toutes numerotees en bas dans l'in- 
terieur de l'ancadrement, par les cbiffres arabes de 1 a 42. La derniere 
planche porte : Fine delle Tavola. La plancbe 40 est chiffree par erreur 36. 
Les niodeles d'ecriture sont l'ceuvre de Ant. Bertozzi et Seb. Zanella. M. le 
marquis d'Adda, dans sa bibliograpMe, en signale une autre edition de 
1616. Vente Piot, n° 217. Une autre edition de 1621. Vente Destailleurs, 
1895. Vente Eugene Piot, 1891. 4°. 14 pp. of text, 40 engravings. 

1759 — Tozzi, Fr. — Gioiello della Corona per le nobili e virtvose donne nel quale 
si dimostra altri nuoui bellissimi dissegni di tutte le sorte di Mostre di 
Punti in aria Punti tagliati et Punti a Reticello, cose per Freggi come per 
Merli et Rosette eke con l'aco si vsano koggidi per tutta Europa. Et 
molte delle quali Mostre possono servire ancora per Opere a Mazette. 
Nouamente posto in luce con molte bellissime inventioni non mai piu 
usate ne vedute. In Fiorenza apresso Fr. Tozzi, 1594. In-4° oblong. 2 
feuillets imprimes suivis de 23 planches et a la fin d'une grande planche 
pliee qui represente une broderie ombree, sur un fond clair quadrille. Le 
marquis d Adda dans sa bibliographie mentionne de ce livre une edition de 
1593. Vente Solar. Vente Libri, 1862. 

1760 — Tozzi, P. P. — Instructione delle Inscrittione, etc. (Each alphabet, etc. 
is surrounded by designs for lace or cut-work.) Obi. 4to. Padua, 1604. 
S. K. M. 

1761 — Tracy, Theo. — The Renaissance of Aristocracy's Lace. The 20th Century 
Home, February and March, 1934, London. 

1762 — Traite de la Dentelle irlandaise et das Jours a l'aiguille (Point d'Alen- 
gon). Paris, Fr. Ebhardt, n.d. 

1763 — Tranter and Adams — Roumanian Knitting Cards. 1891. B. M. 

1764 — Treadwin, Mrs. — Antique Point and Honiton Lace. London ; Ward, Lock 
& Tyler, 1873. 100 illus., 4to. 

1765 — Treadwin, Mrs. — Antique, Point, and Honiton Lace. 100 illus. 4to. 
Loud. (1874). S. K. M. 

1766 — Trine Irlandesi, Lavori in Applicazione, Ricamo a punto piatto. Milan, 
Fratelli Treves, 1892. 

1767 — Trionfo di Virtv, Libro novo da cusir, nel qual si contengono molti et diuersi 
sorti di fogliami del quale ogni gentile et virtuosa Madonna se potra ser- 
vire. In far ponti a fili, Ponti cruciati, Ponti in Trezola, ponti in stura, 
ponto scritto tirar in opera, Cuchiar, tesser e molt 'altri ponti come a loro 
piacera. Venetia, 1559. In-4°. 16 feuillets. Bibliographie du marquis 
d'Adda. Bibliotheque Cicognara, An Vatican. 

1768 — Trobridge, G. — Vanished Art : Embroidery on Muslin. Magazine of Art, 
V. 26, pp. 199-201, March, 1902. 

1769 — Troulon, Jehan — Patrons de diuerses manieres. 
Inuentez tres subtilement, 
Duysans a Bi^odeurs et Lingieres. 
Et a, ceus lesquelsz bravement. 
Veullent par bon entendement. 



372 A LACE GUIDE FOB MAKERS AND COLLECTORS 

User d 'antiques et Roboesque. 

Frize et rnoderne proprernent. 

En eomprenant aussi Moresque. 

A tous rnassons, menusiers, et verriers. 

Fei'ont proffit ces pourtraictz largement. 

Aux orpheures et gentilz tapissiers. 

A ieusnes gens aussi semblableinent. 

Oublier point ne veulx aucunement. 

Conti-epointers et les tailleurs d'y mages. 

Et Tissotiers lesquelz pareillement. 

Par ces patrons acquerront heritages. 

Le sire Jehan Troulon diet de bourgogne a este. 

Inventeur de ces presens patrons. 

Pareillement sont. 

Adioustez plusieurs beaulx ouuraiges par messire. 

Antoine Belyn, Eecluz de Saint Martial de Lyon. 

Petit in-4°. Ce titre cote en bas AA, est dans un encadrement forme de rinceaux, 
de fleurons et de feuillage. S'ensuyuet les patrons de messire Antlioine 
Belyn, recluz de sainct Martial de Lyon. Item plusieurs aultres beaux 
patrons nouueaulx qui out este inuentez par frere Jeban Mayol, Carme 
de Lyon. Ce titre cote EE, est dans un encadrement forme de deux co- 
lonnes autour desquelles tourne un rinceau de feuillage. En bas une bande 
rectangulaire au milieu de laquelle est un petit ecusson blanc soutenu a 
droite et a gauche par deux petits amours nus et ailes. Au-dessous du 
titre un ecusson eomprenant un cceur surmonte d'une couronne. En des- 
sous un lion rampant. Autour de 1 'ecusson et du lion, une bordure rectan- 
gulaire sur laquelle on lit : Cor contritum et humiliatum deus non des- 
picies. Psalmo 50. Au verso broderie. Vente Destailleurs. II y a a la 
Bibliotheque Mazarine, une plaquette dans laquelle se trouve cette der- 
niere partie. Le titre est le meme mais l'interieur de l'encadrement off re 
quelques differences qui feraient croire a une autre edition. On voit dans 
celle-ci au milieu, au-dessous du titre, dans un trait carre et un filet rec- 
tangulaire en hauteur, un ecusson au milieu d'une couronne de feuilles en 
bas dans un plat que tient une main deux yeux, et au-dessous enroule dans 
le bas de la couronne de feuilles un phylactere sur lequel on lit: Oculi mei 
semper ad Dominum, Psal. 24. En bas un sujet religieux grave sur bois, 
en haut au-dessus du titre, le pere Eternel entoure d'anges. Vente Des- 
tailleurs, 1895. See A. Belin and Saincte Lucie. 

1770 — Truchet, le Reverend pere Sebastian — see Douat. 

1771 — Trust de Dentelle Beige, Le — La Gazette, Dec. 2, 1902, Brussels. 

1772 — Tuquet, Marcel — Compositions pour dessins de rideaux. 3 series. Paris, 
A. Calavas, n.d. 18 plates in each series. 

1773 — Turgan — Pabrique de dentelles 0. de Vergines et soeurs, ancienne maison 
Vanderkelen-Bresson a Bruxelles. (Les Grandes Usines), Paris. 

1774— Turgan— Les Grande Usines. Les Dentelles, Vol. V. p. 229; VI. p. 237. 8 
vols., 8vo. Paris, 1863-68. S. K. M. 

1775 — Tyrsova, R. — 0. obrozeni lidoveho vysivani. (Dentelles et Broderies de 
Boheme). Cesky Lid (Le Peuple tcheque), 1899, Prague. 



BIBLIOGRAPHY 373 

1776 — U — La Belgique dentelliere. Bruxelles Feminin, Jan. 15, 1903, Brus- 
sels. 

1777 — Ubiscli, E. von — tiber Spitzenbiiclier und Spitzen. In Reportorium fur 
Kustweissenschaft, 1893. V. 16, pp. 88-99. 

1778 — U. S. Bureau of manufactures — Machine-made lace industry in Europe. 
Wash. 1905. 

1779 — U. S. Dept. of commerce and labor — Lace industry in England and France. 
Washington, 1909. 

1780 — Urbani de Gheltoff, G. M. — Les Arts industriels a, Veuise, au Moyen Age 
et a la Benaissance. Traduction de Alf. Cruvellie. Venice, Usiglio & 
Diena, 1885. 

1781— Urbani de Gheltof, G. M.— I Merletti a Venezia. Venice, 1876. 

1782 — Urbani de Gheltof, G. M. — Trattato storico tecnico della fabbricazione dei 
merletti Veneziani. C. tavole. Venezia, 1878. 

1783 — Urbani de Gheltof, G. M. — Trattato storico tecnico della fabbricazione dei 
Merletti veneziani. (Venezia-Burano.) Con tavole. Sm. 4to. Venezio, 
1878. English translation by Lady Layard. "A Technical History of 
the manufacture of Venetian Laces." Illustrations. Sm. 4to. Venice, 
1882. S. K. M. 

1784 — Urbani de Gheltoff, G. M. — Traite historique-technique de la fabrication 
des dentelles venitiennes (Venise-Burano). Edition frangaise revue par 
M. Le Monnier. Venice, F. Ongania, 1893. 

1785 — Ure, A. — Dictionary of Arts, Manufactures and Mines. (Lace Manu- 
facture, Vol. II.) 3 vols. 8vo. Loud. 1867. S. K. M. 

1786 — Valverde, Marques de — Catalogo de la Exposicion de Lenceria y Encajes 
Espanoles del siglo XVI al XIX. 

1787 — Van de Casteele, De — Un fil de l'ancienne Industrie dentelliere a Liege. 
Bull. Institut archeol. liegois. 1885, Liege. 

1788 — Van de Wiele, Margaret — Le "point" de Flandre par Natalis (pseudon.) 
Le Peit Bleu, Dec. 8, 1898, Brussels. 

1789 — Van Holsbeek — L 'Industrie dentelliere en Belgique. Etude sur la condi- 
tion physique et morale des ouvrieres. Brussels, 1863. 

1790 — Van Meerton, W. A. B. — Penelope of Maandwerk aan het Vrouwelijk 
Geslacht toegewijd betattende de beschrijving en afbeelding van aller- 
hande soorten van A^rouwelijke handwerken benevens eenige lektur over 
onderwerpen uit den vrouwelijken Kring. Profusely illustrated with a 
great number of colored plates of embroidery, tapestry, etc. 8 volumes. 
Amsterdam, 1829. 

1791 — Van Schoel, Henrico — Fogliami diversi nouamete posti in luce. Opera 
vtiliss-ma e necessaria p. li racamatori, serittoriorij. et lauoranti di 
ebano et intagliator de lego Orefici, Argentarii, et altre arte, diuerse. 
Henrico van schoel excudit Boma S. A. (circa 1580.) Becueil de 31 plan- 



374 A LACE GUIDE FOR MAKERS AND COLLECTORS 

ches d'orneinents dessines dans la seeonde moitie du XVI siecle et 
gravees au trait. C'est une reunion de modeles pour les fabricants do 
dentelles, les ecrivains, les artistes mosai'queurs en ebene et en cuivre, les 
orfeves, les bijoutiers, etc. 
1792— Vaulabelle, Alfred de— La Dencelle. Le Rappel, April 12, 1903, Paris. 
1793 — Vaulabelle, Alfred de — Industrie du Tulle et de la Blonde. Cosmos, Oct. 

11, 1890, Paris. 
1794: — Vauxeelles, Louis — Broderies, Dentelles et Passementeries de Fernand 

Courteix. La Femme d'aujourd'hui, 1904, No. 7, Paris. 
1795 — Vavassore, G. A. (?) — Burato. . .con nova maestria, gratios donner novo 
artificio vi apporto. A second edition witbout date. 4to, ff . 59 ; frontis- 
piece, ladies at work, verso, Triumph of Fame. Four books of designs of 
great elegance and taste. The Marquis d'Adda assigns them to Vavas- 
sore. 
1796 — Vavassore, Giovanni Andrea — Esemplario di lauori: che insegna alle done 
il modo e ordine di lauorare; cusire et racamare, et finalmente far tutte 
qlle opere degne di memoria, lequale poz fare una donne virtuosa con laco 
in manno. Et vno documento che insegna al compratore accio sia ben 
seruito. A la fin du volume on lit : Stampata in Vineggia per Giouanni 
Andrea Vauassore detto Guadagnino, ne li anni del signore, MDXXX 
(1530) a di XXII Nouembrio. Get exemplaire est le meme que celui de 
l'Esemplario di Lavore de Zoppino avec une date d'une annee posterieure 
1530, au lieu de 1529. Vente Bancel, 1882. 
1797 — Vavassore, G. A. — Exemplario di lauori, che insegna alle donne il modo 
et ordine di lauorare, cusire et raccamare, et finalmete far tutte qlle 
opere digne di memoria, lequale po fare una donna virtuosa con laco in 
mano et uno documeto che insegna al copratore accio sia ben seruito. In- 
4°. Le mot exemplario . . . est tire en noir ; le reste du titre est en rouge. 
Ce titre est au milieu de la page, entoure des quatre cotes par six compo- 
sitions gravees sur bois. Trois en haut, une sur chaque cote vertical et 
une plus grande en bas. On remarque en haut a gauche, une femme de 
profil a, droite travaillant a un metier de basse lisse. Au milieu une femme 
presentant un ouvrage de broderie a un homme qu'on voit a droite, coiffe 
d'un bonnet a plumes. A droit une femme assise devant une table sur 
laquelle est pose un petit metier a broder. Dans les compositions des 
cotes, on remarque a droit un homme assis de profil a, gauche, une toque a 
plumes sur la tete, travaillant a un ouvrage pose devant lui sur un pupitre. 
A gauche une femme assise de face, brodant a un metier pose devant elle. 
Dans la composition du bas, on voit une femme assise sur une chaise, de 
face, travaillant a une ouvrage de broderie pose sur ses genoux. Une autre 
femme assise pres d'elle a, droite, lui off re une aiguille. En bas de cette 
composition, on lit au milieu: Fiorio Vauassore fecit. Au verso on lit 
sept lignes commencant par les mots. .. . Documento per el eornpratore 
et au-dessous a qualun que nobile et illustre Madone, et a ciascun altro 
moderato e candido lettore, Giouan Andrea Vauassore detto Guadagnino. 
S. Puis commencent les broderies. AXIII, verso. Le verso de cette 
page et le recto de la page suivante, ne forment qu'une seule feuille ployee 



BIBLIOGRAPHY 375 

en deux qui constitue le milieu du volume et qui contient un sujet repre- 
sentant Orphee charmant les animaux. Alphabet de eapitales droites. 
Page non cotee, 30 lignes de texte, au-dessous desquelles on lit : Stampato 
in Vineggia, per Giouanni Andrea Vauassore, detto Guadagnino, ne li 
anni del signore MDXXXI a di X Marzo. 26 Feuillets dont un titre au 
commencement, une page a la fin dont le recto contient la suscription ci- 
dessus et 24 planches de broderies imprimees au recto et au verso. Troi- 
sieme edition de ce recueil. Bibliotheque Nationale. 

1798 — Vavassore, G. A. — Esemplario di Lauori che insegna alle donne il modo e 
ordine di lauorare, cusire e racamare . . . fiorio Vauasore fecit (1531). 
4°. 40 cuts. B. K. M. 

1799 — Vavassore, G. A. — Esemplario di lauori: che insegna alle donne, il modo 
et ordine li lavorare, cusire et raccamare et finalmente, far tutte quelle 
opere digne di memoria: lequale po fare una donna virtuosa con laco in 
mano et uno documento che insegna al compratore accio sia ben seruito. 
A la fin: Stampato in Veneggia per Giouanni Andrea Vauassore detto 
Guadagnino, ne li anni del nro Signore MDXXXij a di primo augusto. 
Quatrieme edition de ce recueil. Voir pour la description de ce volume 
celle que nous donnons ci-dessus les deux sont identiques et ne different 
que par le millesime. Vente Destailleurs, 1895. Vente Pirovano, Rome, 
1901. 4°. Cuts (26 leaves). Sig. A-l-XIII. Another copy of this book, 
47 plates, in Cat. of Weyhe, N. Y., No. 20, 1918. Metro. Mus. 

1800 — Vavassore, G. A. — Esemplario di lavori che insegna aele donne il modo et 
ordine di lauorare, cusire, e raccamare e finalmete far tutte qlle opere 
degne di memoria : lequale po fare una donna virtuosa con laco in mano et 
uno documento che insegna al compratore accio sia ben seruito. A la fin: 
Stampato in Veneggia per Giovanni Andrea Vauassore, detto Guadagnino 
et Fiorio Fratello, nelli anni del nostro Signore, MDXXXXIII. A di XIII 
Marzo. Cinquieme edition de ce recueil. Voir pour la description de ce 
volume celle que nous donnons ci-dessus. Les deux sont identiques et ne 
different que par le millesime. Catalogue Cappi de Boulogne. Catalogue 
de la vente Seillieres, par Porquet, 1890. 

1801 — Vavassore, G. A. — Esemplario di lavori: che insegna alle done-il modo e 
ordine di lavorare : cusire : e racamare : e finalmete far tutte qlle opere 
degne di memoria : lequale po fare una donna virtuosa con laco in mano. 
Et uno documento che insegna al copratore accio sia ben servito. In 8vo, 
25 ff., printed on both sides, 48 plates. Title in red Gothic characters, 
framed round by six woodcuts similar to that of Vosterman ; at the foot, 
"fiorio Vavasore fecit." There is no date to this copy; but in the library 
of Prince Messimo, at Rome, is a copy dated Venice, 18 Feb., 1546, con- 
taining 50 plates; and Brunet quotes an edition, "Stampato in Vinezia, 
1556;" Cav. Merli also possesses an edition of the same date. Mr. E. Ar- 
nold has also a copy with the same date. The patterns are mediaeval, on 
black grounds, with counted stitches, a large flower pot, mermaid, Paschal 
lamb, and a double plate representing Orpheus playing to the beasts. Bib. 
Nat. Grav. 

1802 — Vavassore, G. A. — Esempalrio di lavori : che insegna alle donned il modo 



376 A LACE GUIDE FOR MAKERS AND COLLECTORS 

et ordine di lavorare, cusire et raccare et finalrnent far tutte quelle 
opere degne di memoria. Lequale por fare una donna virtuosa con laco 
in mano. Et uno documento che insegna al compratore accio sia ben ser- 
vito. A la fin : Stanipato in Vineggia per Giouanni Andrea Vauassore 
detto Guadagnino. Nelli anni del nostro Signore MDXXXXVI. A di 
XVIII Febraro. Sixierne edition de ce recueil. Voir pour la description 
de ce volume celle que nous donnons ci-dessus (MDXXXXIII). Les deux 
sont identiques et ne different que par le millesinie. Vente Libri, 1857, 
Vente Destailleurs, 1895. 4°. Cuts (26 leaves). (Rosenthal Sale Cat.) 

1803 — Vavassore, G. A. — Essemplario novo di piu di cento variate niostre di 
qualunque orte bellissime per cusire intitolato Fontana di gli essempli. 
Oblong 8vo. No date. 16 ff., 28 plates. In tbe frontispiece is a fountain 
with the motto, "Solicitudo est mater divitiarum," and on each side of tbe 
fountain — "Donne donzelle cb, El cusir seguite — Per farvi eterne alia, 
Fonte venite." On tbe back of tbe frontispiece is tbe Dedication, beaded, 
"II Pelliciolo alia molta magnifica Madona Cbiara Lipomana;" tbe page 
finished by a sonnet; in tbe last leaf, "Awiso alle virtuose donne et a qua- 
lunque lettore Giovanni Andrea Vavassore detto Guadagnino." Says he 
has "negli tempi passati fatto imprimere molto e varie sorte d'essemplari 
di mostre," etc. At the foot " Nuevamente stampeto." This work is 
also described by Count Cicognara with the same title, only with the date 
1550. In this last edition the author writes his name Valvassore. Cata- 
logs ragionata dei libri posseduti dal Conte di Cicognara. Pisa, 1821. 
Bib. Nat. In the Bibliotheca Communitativa, Bologna, is a copy of the 
same date. 

1804 — Vavassore, G. A. — Essemplario novo di piu di cento variato mostre di 
qualunque sorte di Telissime per cusire, intitulato Fontana de gli Essem- 
pli. Au-dessous de ce titre est un grand neuron representant un vase 
dont la panse est decoree de tetes d'enfants qui crachent par leurs bouches 
de minces filets d'eau. Ces filets sont recueillis par de petits enfants as- 
sis, ou debout par terre autour du vase. En haut une banderolle sur la- 
quelle on lit: Solicitudo est mater Divitiarum. Des deux cotes du vase 
les vers suivants : Donne et donzelle che el cusir seguite, Per farvi eterne 
alia fonte venite. Au verso une dedicace : II Pellicolo alia mostro mag- 
nifica Madonna Lipomana Signora et Patrona honorandissima. Puis 17 
lignes de texte et au-dessous 14 vers disposes 7 a droite, 7 a gauche. Puis 
commencent les broderies. Page non cotee. Sur ce recto on lit: Alle vir- 
tuose donne et a qualunque lettore Giouanni Andrea Valvassore detto 
Guadagnino. S. 17 lignes de texte au-dessous desquelles on lit : Nouamente 
stampato per Giuanni Andrea Valuassore detto Guadagnino MDL. En 
resume 16 pages dont 27 planches de broderies a cause du dessin double 
qui occupe deux pages. Catalogue Cicognara, Cicognara en donne une des- 
cription detaillee. Vente Destailleurs, 1895. Bibliotbeque Nationale. 

1805 — Vavassore, G. A. — Esemplario di lavori: che insegna alle donne il modo 
et ordine di lauorare, cusire et raccamare, e finalmete far tutte quelle 
opere degne di memoria, lequale po fare una donna virtuosa con laco in 
mano. Et uno documento che insegna al copratore accio sia be servito. 



BIBLIOGRAPHY 377 

A la fin: Stampato in Vineggia per Giovanni Andrea Valuassore detto 
Guadagnino. 1552. Septieme edition de ce recueil. Voir pour la des- 
cription de ce volume celle que nous donnons ci-dessus (MDXXXXVI). 
Les deux sont identiques et ne different que par le millesime. Tross, cata- 
logue de 1867. 

1805a— Vavassore, G. A. — Essemplario di lavori, etc. Eeproduced under direc- 
tion of Elisa Bicci. Bergamo. 

1806 — Vavassore, G. A. — Libro secondo di Bellissime et variate mostre, 
intitulato, fior de gli Essempli, nouamente dato in luce. In-4° oblong. 
Au-dessous de ce titre, un fleuron compose d'une tablette, sur laquelle sont 
des fruits, grenades, melons, raisins, le tout surmonte d'une palme, et de 
brancbes chargees de fruits. A gauche de ce fleuron on lit : Leggiadre 
donne cbe desiate bonore, et a, droite, Del cusir vostro non lasciate il fiori. 
Au verso : II Pellicolo alia Clarissima Madonna Chiara Lippomana sua os- 
servandissima. Puis quatorze lignes de dedicace. Sur une 22° feuille 
correspondant au titre, on lit: Alle virtuose donne et a, qualunque Lettore 
Giovanni Andrea Vauassore detto Guadagnino. S. Puis 16 lignes de 
texte et au-dessous : Nouamente Stampato per Giouanni Andrea Vauas- 
sore, detto Guadagnino et Florio Fratello. Vente Yemenitz, Venetia, 1550. 
Bibliotbeque Nationale. S. K. M. 

1807 — Vavassore, Giovanni- Antonio, known as Zoan Andrea and Guadagnino — 
La Fior de gli esempli, la Corona di ricami. 1550. 

1808 — Vavassore, Giovanni- Antonio — Fontana de gli esemplio. 1546. 

1809 — Vavassore, G. A. — Opera nova universal intitulata, Corona di Eaccami, 
dove le venerande donne e fanciulle, trovarono di varie opere per far 
colari di camisiola et torniaenti di letti etemella di cuscini boccasini : schu- 
fioni : cordilli di piu sorte. Et molte opere per reccamatori et per dipitore 
et porevesi : de laqual opere e vero essempli ciascuno le potra pore in 
opera secondo el suo bisogno. Con gratia. Nouamente stampata ne la 
inclita citta di Vineggia per Giovanni Andrea vavassore detto Guadag- 
nino. s d. In-4°. Le titre entierement xylographie est inscrit a mi-page 
et est surmonte d'un petit sujet au point compte, sur fond de tapisserie. 
Le tout est renferme dans un encadrement forme de quatre bandes rec- 
tangulaires, deux horizontals, deux verticales, renfermant des rinceaux et 
des ornements. Dans l'une de ces bandes verticales, on remarque les 
initiales : G. A. V. qui est le monogramme de Giovanni Andrea Vavassore. 
Dans le coin de la derniere page on lit : Finisce il libro intitulato Corona 
di Eacami. En resume 26 feuillets dont un titre et 51 planches de bro- 
deries. II existe des exemplaires oii le verso du titre n'a pas de broderies. 
Dans ce cas il y a toujours 26 feuillets, mais il n'y a plus que 50 planches 
de broderies. Vente Pirovano, Eome, 1901. Vente Destailleurs, 1895. 
Bibliotbeque Nationale. 

1810 — Vavassore, Gio. A. — Opera nova Universal intitulata corona di ricammi; 
Dove le venerande donne e fanciulle : troverafio di varie opere p fare colari 
di camisiola & torniaenti di letti eternelle di cuscini boccasini schufioni: 
cordlli di piu sorte; et molte opere per recamatori p dipitore poreuesi: 
de lequale opere o vero esempli ciascuno le potra pore in opera secodo 



378 A LACE GUIDE FOR MAKERS AND COLLECTORS 

el suo bisogno: con gratia novamente stampata ne la inclita citta di 
viueggia per Giovanni Andrea Vavassore detto Guadagnio. 36 pp., sm. 
4to. 13 ff., 52 designs. Library V. & A. M.— Venice, Lib. St. Mark.— 
Milan, Bib. Marquis d'Adda. 

1811 — Vavassore, G. A., detto Guadagnino — Opera nova, etc. . . . dove le ve- 
nerande donne et fanciulle trovaranno di varie epere et molte opere per 
recamatori et per dipintori, etc. Nnovaniente stampata, etc. A little 
of everything in this volume. Zoan Andrea Vavassore was the pupil in 
drawing and engraving of Andrea Mantegna. So greedy was he of gain 
as to obtain for him the name of Guadigno, in Venetian patois, "covet- 
ous." Milan, Bib. Marquis G. d'Adda. 

1812 — Vavassore, And. detto Guadagnini — Opera Nuova Universale, intitulata 
Coronna di Bicammi dove le venerande donne e fanciulle trovarono di 
varie opere per far colari di camisiola, etc. Facsimile of the original of 
1546 ( ?) with 40 plates. Venice, 1878. Sm. 4to. Ongania, 36 pp. S. K. M. 
Metro. Mus. 

1813 — Vavassore, G. A. — Opera nuova universale intitolata corona di Eicami, 
Bergamo, 1910. Beproduced under direction of Elisa Bicci. 

1814 — Vavassore, G. A. — La vera perfettione del disegno di uarie sorti di ricami 
et di cucire ogne sorte di punti a f ogliami, punti tagliati, punti a fill, et ri- 
messi, punti introciati, punti a stuora, & ogn'altro arte che dia opera 
a disegni. In Venetia, presso gl'heredi de Luigi Valuassori e Gio. Do- 
menico Micheli, 1584. Al segno del l'lppogrifo. In 4° oblong. II y aurait 
une edition de 1585. (Bahir, catalogue Destailleurs.) Bibliotheque Na- 
tionale. 

1815 — Vecellio, C. — Corona delle nobile et Virtuose donne, Libro primo (e sec- 
ondo) nel quale si dimostra in varij dissegni tutte le sorti di Mostre di 
Punti Tagliati, Punti in aria, Punti a reticello, et d'ogni altra sorte, cosi 
per Freggi, come per Merli et Bosette, che con l'aco si usano per tutta 
l'Europa. In Venetia appresso Giorgio Angelieri a instantia di Cesare 
Vecellio. (1591.) In-4° oblong. Titre different vente Yemenitz. Un e- 
xemplaire de cet ouvrage mais date de 1592, se trouve a la Bibliotheque de 
1 'arsenal. Un exemplaire de cette meme date 1592 est passe dans la vente 
Santarelli faite par monsieur Danlos. Vente Foulc, 1914. 

1816 — Vecellio, C. — Corona delle nobili etc. Marzo, 1591. Ongania reproduc- 
tion, 1876. (There is also a Hoepli reproduction of this book.) 

1817 — Vecellio, C. — Corona delle nobili et virtvose donne, libro primo Nel quale 
di dimostra in varij dissegni tutte le sorte di Mostre di Punti tagliati, 
Punti in aria, Punti a reticello e dogni altra sorte cosi per Freggi, come 
per Merli et Bosette che con laco si vsano hoggidi per tutta l'Europa. Et 
molte delle quali mostre possono seruire anchora per opere a Mazette. 
Aggiuntoui in questa Terza impressione molti bellissimi disegni non mai 
piu veduti. Petit in-4° oblong. Au-dessous de ce titre une marque d'lm- 
primerie. C 'est un Cartouche ovale dans la bordure duquel on lit : Volup- 
tatum et malorum effetur dissipatio. Dans ce Cartouche un oiseau regarde 
de profil a, gauche des serpents qui grouillent a, ses pieds. Le cartouche 
qui renferme cet oiseau, est entoure de cuirs, de mascarons, de petits 



BIBLIOGRAPHY 379 

amours et a droite et a gauche des femmes assises qui travaillent a, le 'ai- 
guille. Au-dessous de cette marque d'imprimerie on lit: Con Privilegio. 
In Venetia appresso Cesare Vecellio in Frezzaria nelle case de Preti. 1591. 
Dedicace. . . .Alia clarissima et illustrissima Signora Viena Vendramina 
Nani . . . Finissant au verso par les mots : Di Venetia a di Genaro. 1591, 
et signee Cesare Vecellio. Gravure sur bois representant une femme de- 
bout sur une tortue, de face, une main tenant un peloton de fil, 1 'autre 
main levee en Pair, Pindex etendu. Au fond deux femmes assises, tra- 
vaillant a, P aiguille et un sculpteur a une statue. Cette composition est 
entouree en baut et sur les cotes de bandes de guipures. Au-dessus de 
cette gravure on lit : Conviensi cbe la della donua la bonta et non la bel- 
lezza sia divulgata. Au verso un dessin de broderie Corona delle nobili 
et virtuose donne, Libro secondo. Nel quale si dimos-tra in varij dissegni 
tutte le -sorte di mostre di Punti Tagliati, Punti in aaria, puntia a reti- 
cello, e d'ogni altra sorte, cosi per Freggi, come per Merli et Eosette, cbe 
con laco si vsano boggidi per tutta PEuropa. Et molte delle quali mostre 
possono servire ancbora per opere a Mazette. Aggiuntoui in questa Terza 
impressione molti bellissimi ricami non piu vedette. Meme marque d'im- 
primerie que dans le livre premier ci-dessus, meme libelle du Privilege, 
meme date. Meme dedicace qu'au livre premier ci-dessus. Corona delle 
nobili et virtuose donne, Libro Terzo, nel quale si dimostra in varij dis- 
segni molte sorti di mostre, di Punto in aria, Punti Tagliati, Punti a reti- 
cello, et ancora di picciole cosi per Freggi, come per merli et Eosette, cbe 
con laco si vsano boggidi, per tutta PEuropa. Con alcune altre noue in- 
ventioni di Bauari all' usanza Venetiana. Opera nouva e non piu data in 
luce. Meme marque d'imprimerie que dans le livre premier, ci-dessus, 
meme libelle du Privilege. Dedicace: . . . Alia clarissima et illustris- 
sima Signora Viena Vendramina Nani. Finissant au verso par les mots : 
Di Venetia, a di. 15 Griugno. 1591, et signee : Cesare Vecellio. Feuille qua- 
drillee indiquant la maniere de piquer un dessin et de le reduire ou agrandir 
par les carreaux de proportion. Avertissement aux femmes sur la ma- 
niere de travailler. On pourrait conclure de Fenonce des trois titres ci- 
dessus, que cette edition serait la troisieme en date. Bib. Nationale. 

1818 — Vecell, Cesare. — Corona delle nobili et virtuose donne. Libro Primo, 
Secondo, Terzo. 1592. P. 77. 

1819 — Vecellio, C. — Corona delle nobili et virtuose donne. Libro primo. Nel 
quale si dimostra in varij Dissegni, tutti le sorti di Mostre di punti tagliati, 
punti in aria, punti a, Beticello, e d' ogni altra sorte cosi per Freggi come 
per Merli, & Eosette, cbe con P Aco si usano hoggidi per tutta PEuropa. 
Et molte delle quali Mostre possono servire ancbora per Opere a Mazzette. 
Aggiuntivi in questa Quarta impressione molti bellissimi dissegni non mai 
piii veduti. Then follows tbe printer's impresa of the stork and serpent, 
witb a lady at work on eacb side, and below — Con privilegio. In Venetia, 
Appresso Cesare Vecellio in Frezzaria nelle Case de' Preti. 1592. Which 
is repeated in the 2nd and 3rd Books. Obi. 4to, 32 ff., 28 plates. Dedica- 
tion of Vecellio "Alia Clarissima, et Illustrissima Signora, Viena Ven- 
dramina Nani, dignatissima Consorte dell'Illust-smo Sig. Polo Nani, il 



380 A LACE GUIDE FOR MAKERS AND COLLECTORS 

Procurator di S. Marco." Signed: Venice, Jan. 20, 1591. Beautiful de- 
signs, among which are three corners for handkerchiefs, the last lettered : 
"Diverse inventioni p. cantoni dee fazoletti." On Plate 3, within a point 
coupe border, is a statue of Venus standing upon a tortoise, with other 
figures. 

1820 — Vecellio, C. — 2nd Book — See 1819 — Corona delle jiobili et virtuose donne. 
Libro secondo. Nel quale si dimostra in varij Dissegni, tutte le sorti di 
Mostre de punte tagliati, punti in aria, punti a Beticello, e d' ogni altra 
sorte, cosi per Freggi, come per Merli, & Rosette, che con 1' Aco si usano 
hoggidi per tutta l'Europa. Et molti delle quali Mostre possono servire 
anchora per Opere a Mazzette. Aggiuntivi in questa Quarta Impressione 
molti bellissimi dissegni non mai piii veduti. Con Privilegio. In Vene- 
tia, Appresso Cesare Vecellio, in Frezzaria nelle Case de' Preti. 1592. 28 
ff., 26 plates. The dedication of this and the next book, though differently 
worded, are addressed to the same lady as the first. This is dated Jan. 
24, 1591. Among the patterns are two designs for handkerchiefs, and on 
the last plate a statue of Vesta, within a point coupe border. 

1821 — Vecellio, C. — 3rd Book — See 1819 — Corono delle nobili et virtuose donne. 
Libro terzo. Nel quale si dimostra in varii dissegni molte sorti di Mostri 
di Punti in Aria, Punti tagliati, Punti a reti cello, and ancora di picciole; 
cosi per Freggi, come per Merli, & Rosette, che con 1' Aco si usano hog- 
gidi per tutta l'Europa. Con alcune altre inventione di Bavari all' usanza 
Venetiana. Opera nouva e non piiv in luce. Con privilegio. In Venetia 
Appresso Cesare Vecellio, sta in Frezzaria nelle Case de' Petri. 1592. 
Dedication dated June 15, 1591. Vecellio says he has added "alcune in- 
ventioni di bavari all' usanza nostra." In the copy (Bib. de l'Arsenal. 
11,955 bis) are added instructions to transfer the patterns upon parch- 
ment without injuring the book. The last plate shows how to reduce the 
patterns and how to prick tliem. This is sometimes given at 
the end of the first book instead of the third. 28 ff ., 26 plates, two of bavari. 
On PI. 27, woman with a torch and Cupid. At PI. 28, in a point coupe bor- 
der, is a fox holding the bust of a lady, the conceit of which is explained 
by the verses that sense is better than beauty: — La Corona de Vecellio 
est de beaucoup le plus important et le plus celebre des livres offrant des 
modeles de dentelles. Cette quatrieme edition est plus complete que les 
precedentes. Les trois parties renferment respectivement 27.26 et 28 
planches. Foulc Sale, Paris, June, 1914, frs. 980. Le Gioiello ne parut 
que l'annee suivante. Bib. de l'Arsenal. V. &. A. M. 

1822 — Vecellio, C. — [Another edition.] In Venetia, Appresso Cesare Vecellio, 
in Frezzaria nelle Case de' Preti, 1593. See 1819. B. K. M. 

1823 — Vecellio, C. — [Another edition.] In Venetia, Appresso Cesare Vecellio, 
in Frezzaria nelle Case de i Preti, 1593. (Ongania reproduction.) See 
1819. 

1824 — Vecellio, Cesare — Grioello della corona per le nobili e virtuose donne. Libro 
quarto. Nel quale si dimostra altri nuovi bellissimi Dissegni di tutte le 
sorte di Mostre di Punti in Aria, Punti tagliati & Punti a Reticello ; cosi 
per Freggi, come per Merli, & Rosette, che con l'Aco si usano hoggidi per 



BIBLIOGRAPHY 381 

tutta 1' Europa. Et molte delle quali niostre possono servire ancliora per 
opere a Mazzette Nuovament posto in luce con molte bellissime inventioni 
non mai piu nsate, ne vedute. Con privilegio. In Venetia, Appresso Ce- 
sare Vecellio, in Frezzaria nella Casa de i Preti. 1594. Same impresa of 
the stork and serpent. Dedicated to the Sign. Isabella Palavicina Lupi 
Marchesa di Soragana, dated "Venetia alii 20 Novembrio 1592." Cesare 
Vecellio. 30 plates. P. 78. (Part 4 of the "Corona" with which it is 
often bound up.) Vecellio, author of the Corona and Gioiello, also pub- 
lished a work on costume styled Degli Habiti Antichi et Moderni. In Ve- 
nezia, 1590. Presso Damian Zenero. In the frontispiece is a salaman- 
der; on the last leaf a figure of Vesta. It has been reproduced by F. Didot, 
Paris. The Bib. de 1 'Arsenal possesses two copies of the Corona. The 
Library of Rouen (No. 1,315) has a volume containing the Corona and 
Gioiello. Book 1 "quarta Imp.," Book 2 "ultima," both dated 1594; and 
Book 3 "quinta," 1593. The Gioiello, 1593. In the Bodleian is a copy of 
the three books, date 1592 ; and another, date 1561, was in the possession 
of the late Mrs. Dennistoun of Dennistoun. At Venice, in the Doge's Li- 
brary, is a volume containing the three books of the Corona and the Gio- 
iello, dated 1593. Mrs. Stisted, Bagni di Lucca, also possesses the three 
books of the Corona, dated 1597, and the Gioiello, 1592. At Bologna the 
Library has one volume, containing the first and second books only, evi- 
dently the original impressions. The titles are the same as the above, only 
to each is affixed, "Opera nuova e non piu data in luce," and "Stampata 
per gli Hered' della Regina. 1591. An instantia di Cesare Vecellio, Sta 
in Frezzaria. ' ' The same Library also possesses a volume, with the three 
books of the Corona, the first and third "ottava," the second "quarta," 
and the Gioiello, "nouvamente posto in luce." All "In Venetia appresso 
gli heredi di Cesare Vecellio, in Frezzaria. 1608." At Vienna, in the new 
Museum for Art and Industry, is a copy of the five books, dated 1601. 
Cav. Merli cites from a copy of the four books, dated 1600. The various 
impressions, therefore, date from 1591 to 1608. We see these different 
parts, like those of Vinciolo and all these old collections, have been printed 
and reprinted independently of each other, since the third part was at its 
fifth impression in 1593, while the first, which ought to have preceded it, 
was only at its fourth in 1594. Rouen, Bib. Bound in one vol. with the 
three parts of the Corona. 

1825 — Vecellio, O. — Corona delle nobili et virtuose donne, Libro Primo, nel quale 
si dimonstra in varij dissegni tutte le sorti di mostre di punti tagiiati, 
punti in aria, punti a reticello e d'ogni altra sorte, cosi per Freggi, come 
per Merli et Rosette che con laco si usano hoggidi per tutta 1 'Europa. Et 
molte delle quali mostre possono servire ancora per Opere a Mazetti. Ag- 
giuntovi in questa quarta Impressione molti bellissimi dissegni non mai 
piu veduti. Meme marque d'imprimerie que dans le livre premier meme 
libelle du privilege avec la date de 1595, au lieu de 1591. Meme dedicace. 
Meme gravure sur bois. Corona del nobili et virtuose donne, Libro sec- 
ondo, nel quale si dimostra in varij dissegni tutte le sorti di mostre de punti 
• Tagiiati, punti in aria, punti a Reticello, e d'ogni altra sorte, cosi per 



382 A LACE GUIDE FOR MAKERS AND COLLECTORS 

Freggi, come per Merli et Rosette, eke con l'aco si usano hoggidi per tutta 
l'Europa. Et molte delle quali inostre possouo servire ancora per Opere 
a Mazetti. Aggiuntovi in questa quarta Impressione molti bellissimi dis- 
segni non inai piu veduti. Meme marque d'imprimerie, meme libelle du 
privilege, avec la date de 1597, au lieu de 1591. Meme dedicace que dans 
le livre deux. A la fin une figure dans un medaillon avec le mot Vesta dans 
un encadrement de dentelles. Corona delle nobili et virtuose donne, Libro 
Terzo, nel quale si dimostra in varij dissegni tutte le sorti di Mostre di 
punti tagliati, punti in aria, punti a Reticello e d'ogni altra sorte, cosi per 
Freggi come per Merli et Rosette, e, die con l'aco si usano hoggidi per tutta 
l'Europa. Con alcune altre nuove inventioni di Bauari all uzanza Vene- 
tiana. Opera nuova e non piu data in luce. Meme marque d'imprimerie 
que dans le livre premier, meme libelle du privilege avec la date de 1597, 
au lieu de 1591. Meme dedicace que dans le livre trois. A la fin une figure 
en medaillon dans un cadre de dentelles representant le renard et le buste 
accompagnee d'un sixain. Gioiello della Corona per le nobile e virtvose 
donne, Libro quarto, nel quale si dimostra altri nuovi bellissimi disegni, di 
tutte le sorti di Mostre, di punti in aria punti Tagliati, et punti a Reticello 
cosi per Freggi come per Merli et Rosette che con laco si usano hoggidi per 
tutta Europa, et molte delle quali mostre possono servire ancora per opere 
a Mazetti, nouamente posto in luce con molto bellissimi inventioni non mai 
piu usate ne vedute. Meme marque d'imprimerie que dans le livre pre- 
mier. Meme libelle du privilege avec la date de 1596. Dedicace: Alia 
illustrissima sig-ra Padrona Colendissima la sig. Isabella Pallavicina 
Lvpi marchesa meritissima di Soragna. Finissant au verso par les mots : 
Di Venetia alii 20 novembrio 1592, et signee : Cesare Vecellio. Puis com- 
mencent les broderies. Vente Benedetto Maglione. Paris, 1894. 

1826 — Vecellio, C. — Corona delle nobili et virtuose donne. Libro quinto. Nel 
quale si contengono molti, & varij Dissegni di diuersi sorti, & specialmente 
che seruono per Bauari ch' in Venetia si costumano, & in molte altre parti 
del mondo. Opera molto vtile. . . . Nuouamente posto in lvce. Con privi- 
legio. In Venetia, appresso Cesare Vecellio, in Frezaria nelle Case de 
Reuer. Preti di S. Moise. 1596. 4°. 10 cuts. 

1827 — Vecellio, C. — Corona delle nobili et virtuose, etc. 1596. Ongania Repro- 
duction of No. 1826. 

1828 — Vecellio, C. — Corona delle nobili et virtvose donne, Libro primo, nel quale 
si dimostra in varij dissegni, tutte le sorti di Mostre, Punti tagliati, punti 
in aria, punti a reticello, et d'ogni altra sorte cosi per Freggi, come per 
merli et Rosette che con laco si usano hoggidi per tutta Europa. Et molte 
delle quali mostre possono servire ancora per Opere a Mazette. Aggiutoui 
in questo quarta impressione molti bellissimi disegni non piu verduti. 
Meme exemplaire que le precedent avec des differences insignifiantes prin- 
cipalement dans les cotes. Vente Piot, 1879. Bibliotheque Nationale. 

1829 — Vecellio, C. — Corona delle Nobili et virtvose donne, Libro Primo nel quale 
si dimostra in varij dissegni, tutte le sorti di Mostre, di punti tagliati, 
punti in aria, punti a reticello, a d'ogni altra sorte cosi per Freggi, come 
per Merli et Rosette, che con laco si usano hoggidi per tutta l'Europa. 



BIBLIOGRAPHY 383 

Aggiuntoui in questa quarta impressione molti bellissimi dissegni non mai 
piu verduti. Meme exemplaire que celui decrit ci-dessus avec cette seule 
difference que le libelle du privilege en est date de 1598. Vente Yemenitz, 
1867. Vente Bancel, 1882. 

L830 — Vecellio, C. — Corona delle nobili et virtvose donne, Libro primo, nel qual si 
dimostra in varij dissegni tutte le sorti di Mostre di punti tagliati, punti in 
aria, punti a reticello e d'ogni altra sorte cosi per Freggi come per Merli 
et Eosette, cbe con l'aco si vsano boggidi per tutta l'Europa. Et molte 
delle quali mostre possono seruire ancora per opere a Mazette. Agguiun- 
toui in questa quarta impressione molti bellissimi dissegni non mai piu ve- 
duti, Con privilegio. Meme exemplaire que celui decrit ci-dessus avec cette 
seule difference que le libelle du privilege est date de 1600. 

1831 — Vecellio, C. — Corona delle nobili et virtvose donne, Libro primo nel, qual 
si dimostra in varij dissegni, tutte le sorti di Mostre di punti tagliati, punti 
in aria, punti a Eeti cello e d'ogni altra sorte, cosi per Freggi, come per 
Merli et Eosette, cbe con l'aco si usano boggidi per tutta l'Europa. Et 
molte delle quali mostre possono seruire ancora per opera et Mazette. Ag- 
giontavi in questa ottaua impressionne molti bellissimi dissegni non piu 
veduti. D'apres l'enonce du titre cette edition serait la buitieme. Meme 
exemplaire que celui decrit ci-dessus avec cette seule difference que le 
libelle du privilege est date de 1600. Bibliotbeque Nationale. 

1832 — Vecellio, C. — [Anotber edition.] In Venetia, Appresso Cesare Vecellio, in 
Merzaria, 1600. (Ongania reproduction.) See 1831. 

1833 — Vecellio, C. — Corona Delia Nobili / / Et Virtuose Donne / / Libro Primo 
/ / Nelqual fi dimoftra in varij Diffegni, tutte le f orti di Moftre di punti 
tagliati // punti in aria, punti a Eeticello, e d'ogn'altra forte cofi per 
Fregi, come per // Merli, e Eofette, cbe con l'Aco fi ufano boggidi per 
tutta 1' Eur opa // Et Molte delle quali Mostre Poffono feruire ancora 
per Opere a Mazette / / Aggiontoui in quefta Ottaua Imprefsione molti 
bellifsimi Diffegni non piu veduti / / Con Privilegio / / In Venetia. Ap- 
preff o Cefare Vecellio, in Merzaria 1601 / / Metro Mus. 

1834 — CoronaDelle Nobili / / Et Virtuose Donne / / Libro Terzo. Metro. 
Mus. See 1833. 

1835 — Corona Delle Nibili / / Et Virtuose Donne / / Libro Quarto. Metro. 
Mus. See 1833. B. K. M. 

1836 — Vecellio, C. — [Anotber edition.] In Venetia, Appresso gli heredi di Cesare 
Vecellio, in Merzaria. 1608. See 1833. V. & A. M. 

1837 — Vecellio, C. — Corona delle nobile, et virtuose Donne. Libro primo, Ve- 
netia, 1592. Grioiello della Corona per le nobili, et virtuose Donne, Libro se- 
condo, 1592; Libro terzo, 1592. Libro quarto, Venetia, 1608. 4 parts com- 
plete. Obi. 8vo. Venice, 1592-1608. S. K. M. 

1838 — Vecellio, C. — Corona delle nobile, etc. Anotber edition (imperfect) of 
part 4. See No. 1837. S. K. M. 

1839 — Vecellio, C. — Facsimile reprint of tbe above. Libro primo, ed. 1600. Libro 
secondo, ed. 1600, Libro terzo, ed. 1600, Libro quarto ed. 1593. Ongania, 
Venice, 1876. S. K. M. See 1837. Metro Mus. 



384 A LACE GUIDE FOB MAKERS AND COLLECTORS 

1840 — Vecellio, C. — Another facsimile reprint of the Lihro primo ed. 1600, with 
title of edition. 1593. Ongania, Venice, 1879. S. K. M. 

1841 — -Vecellio, C. — Another edition or early reprint of the Libro terzo of the 
same work published "in Venetia, Appreso Alessandro de Vecchi, 1620." 
Obi. 8vo. Venice, 1620. S. K. M. 

1842 — Vecellio, 0. — Corona delle nobili et virtvose donne, Libro Primo, nel quale 
si dimostra in varij dissegni tutte le sorte di mostre di punti tagliati, 
punti in aria, punti Fiamenghi, punti a Eeticello, e d'ogni altra sorte, cosi 
per Freggi, per Merli et Rosette che con l'aco si usano hoggidi per tutta 
l'Europa. Et molte delle quali mostre possono seruire ancora per Opere 
Mazette, con la dichiarationi a le mostre a lauori fatti da Lugretia 
Eomana. Au-dessous de ce titre une gravure sur bois representant une 
femme debout sur une tortue, de face, une main tenant un peloton de fil, 
1 'autre main levee en l'air 1 'index etendu. Au fond deux femmes assises, 
travaillant a 1 'aiguille et un sculp teur a une statue. Cette composition est 
entouree en haut et sur les cotes de bandes de guipures. Au-dessus de ce 
bois on lit: Conviensi che la donna la bonta et non la bellezza sia divul- 
gata. Au-dessous de la gravure : In Venetia appresso Alessandro de Vecchi 
1620. Vendesi in Eoma al magazino della Venetia. Dedicace: Alia 
Clarissima et illustrissima signoraViena Vendramina Nani. Finissant au 
verso par les mots : Di Venetia el di 20 marzo, 1591, et signee Cesare Ve- 
cellio. Un cartouche ovale contenant le portrait de Marie d'Aragon, de 
profil a gauche. Coiffee d'une resille,en buste, pose sur un piedouche. Au 
bas du chignon a droite, dans interieur de l'ovale du cartouche, une cou- 
ronne, au tour de la bordure du medaillon, on lit : D. Maria Aragonia. Ce 
cartouche est ornemente de grotesques, d'anges ailes, de chimeres. Au 
bas est une tablette sur laquelle on lit : Aetatis suae anno. XXXIX. A 
droite et a gauche des bordures verticales de guipures, En haut du car- 
touche on lit : Conviensi che la donna, la bonta et non la Bellezza sia divul- 
gata. Eien au verso. Puis commencent les broderies. Chaque planche 
porte en haut la mention du genre de broderies represents, et en bas l'u- 
sage qu'on en fait et la partie desvetements a, laquelle cette broderie est des- 
tinee. Corona delle nobili et virtvose donne, Libro secondo, nel quale si 
dimostra in varij dissegni tutte le sorti di mostre di punti tagliati, punti 
in aria, punti Fiamenghi, punti a Eeticello, e d'ogni altra sorte, cosi per 
Freggi, per Merli e Eosette, che con l'aco si usano hoggidi per tutta 1'- 
' Europa. Et molte delle quali mostre possono servire ancora per opere a 
Mazette con le dichiarationi a le mostre a lavori fatti da Lugutia Eomana. 
Merne gravure sur bois que ci-dessus premiere partie. On lit au-dessous: 
In Venetia appresso Alessandro de Vecchi 1617. Si Vendono in Venetia 
al Ponte de Baretteri, alia libreria delle tre Eoie. Dedicace : Alia Claris- 
sima et illustrissima signora Viena Vendramina Nani. Finissant par la 
date de 1591 et la signature Cesare Vecellio. Page avec le buste de Marie 
d'Aragon decrit ci-dessus premiere partie. Puis commencent les brode- 
ries. Corona delle nobili et virtuose donne, Libro Terzo, nel qual si dimo- 
stra in varij dissegni tutte le sorti di Mostre di punti tagliati, punti in aria, 
punti Fiamenghi, punti a Eeticello et d'ogni altra sorte, cosi per Freggi, 



BIBLIOGRAPHY 385 

per Merli et Eosette, che con l'aco si usano per tutta l'Europa, et molte 
delle quali mostre possono servire ancora, per opere a Mazette, con le de- 
chiarationi a le mostre a lavori fatti da Lugretia Eomana. Au-dessous de 
ce titre meme gravure sur bois que ci-dessus premiere partie. Au-dessous 
de cette gravure : In venetia appresso Alessandro de Vecchi 1620. Si 
Vendono in Venetia, al Ponte de Barettori, alia Libreria delle tre Roie. 
Dedicace: Alia Clarissima et illustrissima signora Viena Vendramina 
Nani. Finissant par la date 1591 et la signature Cesare Vecellio. Puis 
commencent les broderies. B. M. 

1843 — Vecellio, C. — Corona delle nobile et Virtuose donne, Libro primo nel quale 
si dimostra in varij dissegni tutte le sorti de Mostre di punti Tagliati, punti 
in aria, punti Fiamenghi, punti a reti cello, a d'ogni altra sorte, cosi per 
Freggi, per Merli et Bosette, cue con l'aco si usano hoggidi per tutta l'- 
Europa. Con le dechiarationi a le mostre a lavori fatti da Lugutia Rom- 
ana. Au-dessous du gravure : In Venetia Appresso Alessandro de Veccbi 
MDCXXV. Si Vendone in Venetia al Ponte de Baretteri, alia Libreria 
delle tre Roie. Meme dedicace, meme cartouche avec le buste de Marie d'- 
Aragon que dans la premiere partie du numero ci-dessus, memes cotes des 
pages. La seconde partie a le meme titre, la meme marque d'imprimerie, 
le meme privilege, la meme dedicace que ci-dessus. Puis commencent les 
broderies. La troisieme partie a le meme titre, la meme marque d'im- 
primerie, le meme privilege, la meme dedicace que ci-dessus. Puis com- 
mencent les broderies. La quatrieme partie a le meme titre, la meme mar- 
que d'imprimerie, le meme privilege, la meme dedicace que ci-dessus. Puis 
commencent les broderies. Ce volume comprend 116 feuillets. Les trois 
premieres parties en ayant 28 chacune, et la quatrieme 32. In Emmanuel 
Bocher's opinion this is the same book as that of the same title and date 
listed under Lucretia Romana : here described in greater detail, especially 
with reference to the different parts. Vente Destailleurs, 1895. Biblio- 
theque imperiale de Vienne. 

1844 — Vecellio, Cesare — Corona delle Nobili et Virtuose Donne, libro primo. Nel 
quale si dimostra in varii Dissegni tutte le sorti di Mostre di punti tag- 
liati, punti in Aria, punti Fiamenghi, etc., cosi per Freggi, per Merli, e Ro- 
sette, che con 1 ' Aco si usano hoggidi per tutta 1 'Europa. In Venetia, Ap- 
presso Alessandro de' Vecchi, 1625. Oblong 8vo, woodcut on title, portrait 
of Lucretia Romana, and 24 woodcut pages of designs for lace and needle- 
work, half calf. Ellis (London) Cat. No. 177, 1918. See note above, and 
No.1110 by Lucretia Romana. 

1845 — Vecellio, Cesare — Corona delli nobili et virtuse donne. 1630, reprinted 
1879. 

1846 — Vecellio, Cesare — Costumes anciens et modernes. Habiti antichi e mor- 
derni, etc. Paris, Fernin Didot f reres et fils, 1859-1860. 

1847— Vecelli, C— Die Krone der kunstfertigen Frauen. 1691. Berlin, 1891. In 
British Museum. 

1848 — Venetian Patterns — 12 leaves of woodcut designs, each with headings from 
a 16th century Lace pattern book. Sm. 4to. n.d. S. K. M. 

1849— Venetian Point Lace. Delineator, V. 64, pp. 116-117, July, 1904. 



386 A LACE GUIDE FOR MAKERS AND COLLECTORS 

1850 — Venetian, 16th Cent. — FiLr Passementerie Arbeiten und verwandte Tech- 

niken. Nach dem Original-musterbuche im Besitze der Bibliothek des 

k.k. Oesterr. Museums . . . Obi. 8vo, Wien, 1879. S. K. M. 
1851 — Venetianer Spitzen (Punto tirati) aus dem 16. Jabrbundert. Blaetter 

fur Kunst gewerbe, 1879, Vienna. 
1852 — Vera perfezione del disegno, La, etc. Sm. obi. 4to. Venice, P. Senese, 

1591. 23 tracings of tbe patterns. See Clerget. S. K. M. 
1853 — Vereeniging "De Nederlandsche Kantwerkschool" te's Gravenbage. 

Verslag over 1902, tot September, 1903. Amsterdam, van Ipenbuur & van 

Seldam, n.d. 
1854 — Verein zur Hebung der Spitzenindustrie in Osterreich. Kunst und Kunst- 

handiverk, 1904. 
1855 — Vere, O'Brien, Mrs. Robert — Limerick Lace. Irish Homestead, August, 

1897. 
1856 — Verbaegen, Pierre — L'industrie dentelliere en Belgique. La Reforme 

sociale, May 16, 1902. Paris. 
1857 — Verbaegen, Pierre — Les Industries a domicile en Belgique, T. IV, La Den- 

telle et la Broderie sur tulle, 2 vol. Brussels, Office de Public, et Societe 

beige de librairie, 1902. B. M. 
1858 — Verbaegen, Pierre — Royaume de Belgique, Ministere de l'industrie et du 

Travail, Office du Travail. Les Industres a Domicile en Belgique, Bruxelles 

1902. Vol. IV & V, La Dentelle et la Broderie sur Tulle, Tomes 1 et 2. 

Published by J. Lebeque & Cie., Brussels, rue de la Madeleine 46, 1902; or 

Oscar Schepens & Co., Rue Treurenberg, 16, Brussels. 
1859 — Verkauf inlandischer Spitzen. Kunst und Kunsthandwerk, 1903, Vienna. 
1860 — Verneuil, M. P. — Un concours de napperons a l'Union centrale des Arts 

decoratifs. Art et decoration, 1903, Paris. 
1861 — Verneuil, P. — L'lDcole de Dentelles de Vienne. Art et decoration, 1903, 

V. 14, pp. 265-272. 
1862 — Verwaetermeulen, Ant. — Bloemwerk-Valencijnsch Kantwerk te Teper. La 

revue Bishorf. Termes, August, 1902. Bruges, Annee 1901, No. 10 et 18. 
1863 — V. — H — Les Dentelles. Histoire. Fabrication, etc. Journal des Dames et 

des Demoiselles, 1859-1860 Brussels. 
1864 — Vienne Exhibition, 1873 — Bapport de la Delegation ouvriere francaise. 

Rapport du Delegue Lyonnaise sur la Passementerie a la barres. 8vo, 

Paris, 1874. S. K. M. 
1865 — Vigouroux, Louis — Rapport fait au nom de la Commission du Commerce 

et de l'industrie cbargee d'examiner la proposition de loi de M. Fernand 

Engerand, relative a l'apprentissage de la dentelle a la main. Chambre 

des Deputes, June 12, 1903, Paris. 
1866 — Vigouroux, Louis — La Dentelle a la Main. Revue Bleue, Feb. 11, 1905, 

Paris. 
1867 — Villedon de Courson, Ctesse de — La Dentelle. Mois litteraire et pitto- 

resque, February, 1904, Paris. 
1868 — -Vinciolo, Federic — Les excellents eschantillons, patrons et modelles du 

Seigneur Federic de Vinciolo Venitien, pour apprendre a, faire toutes 

sortes d'ouvrages de Lingerie, de Poinct couppe, grands et petits passe- 



BIBLIOGRAPHY 387 

ments a jour, et dentelles exquises. Dediez a la Eoyne. A Paris. Chez 
la Veufve Jean le Clerc, rue Sainct Jean de Latran, a la Salamandre Ro- 
yalle. Avec Privilege du Roy, 1623. In 4to, 56 ft". The old frontispiece 
and same. Page Aij. Avertissernent au lecture. Au verso, 4 vers dans 
le bas de la page. Dedication to the Queen, Anne of Austria. The God- 
dess Pallas invented "les ouvrages de lingerie, le poinct couppe, les grands 
and petits passements a jour, toutes sortes de dentelles, tant pour se de- 
sennuyer que se parer, par 1 'artifice de ses ingenieuses mains. Aracine 
s'y adonna, and bien qu'inferieure se voulant comparer a elle & en venir a 
l'experience, mais sa presomption fut chastiee." Many illustrious ladies 
have delighted in this "honneste exercise." Fastrade and Constance, 
wives of the Emperor Charlemagne and of King Robert, "s'employerent 
de cette manufacture, and de leurs ouvrages ornerent les eglises & les 
autels." This royal "mestier" has reached perfection through the works 
of Vinciolo. I reprint and again increase his work, which I dedicate to 
your Majesty,to whom I presume they will be agreeable; the subject of 
which it treats is "une invention de deesse & une occupation de Royne — 
vous estant autant Royne des vertus que vous Testes de deux royaumes." 
Signed, "La Veufve de feu lean le Clere." Page Aiiij. Same Sonnet aux 
Dames et Damoiselles. Au verso extrait du Privilege. Puis commencent 
les broderies. Page Oiiij, Alphabet. Privilege for six years, dated Paris, 
last day of March, 1623. 55 ff., 58plates, 24 ouvrages de point couppe and 
8 of "Passements au fuzeau" and alphabet. Cat. d'Estrees. Bibliotheque 
Nationale, Bib. Imp. Grav. Brussels Bib. Royal. 

1869 — Vinciolo, F. — New Modelbuch darinen allerly Gcettung schoner Modeln der 
newen auss geschitnen arbeit auff Kragen Hempter, Jakelet und Der- 
gleichen zu newen, so zuvor in Teutschlandt nicht geschen. Saint Gall, 
1593. In-4°. Traduction du 3° livre de Vinciolo. 

1870 — Vinciolo, F. — New Modelbuch Von allerhand sonderbarn schonen Modeln 
von der jetzt gebreuchliche' durch geschnittener Arbeit. Durch H. Vin- 
ciolo ein Venediger angeordnet. Yetzt aber alien Frawen, Jungfrawen, 
Naherin vnd dergleichen Kunstgeflissenen Personen zu sondern verstand 
auffs new mit vermehrung vnd besserung viler schonen vnd lustiger Mod- 
eln in Truck gefertiget vnd an tag gebracht. Mit Rom : Keyserlicher 
Mayestat Freyheit. Getruckt zu Strassburg bey B. Jobins Erben. An. 
1596. 4°. Titlepage, 2 pp. text (a poem signed J. D. E.), cuts. V. & A. M. 

1871 — Vinciolo, F. — Les secondes oewres et svbtiles inventions de lingerie du 
seigneur Federic de Vinciolo Venitien, dediees a Madame, sceur uniqve du 
Roy. Ou sont representees plusieurs figures de reseau, nombre de carrez 
tous differents le tout de poinct conte auec autres nouuelles sortes de bor- 
dures non encore veues. A Paris, Par lean Le Clers rue Sainct Jean de 
Latran, a la Salemendre, 1594. Auec Privilege du Roy. Ce titre est 
au milieu d'un encadrement en haut duquel on voit dans un ecusson en lo- 
sange, surmonte d'une couronne royale, les armes de France et de Navarre 
avec une cordeliere de veuve. Des deux cotes de cet ecusson une femme 
tenant un metier sur ses genoux. Au-dessous sur les cotes verticaux de 
1 'encadrement, a droite et a gauche, un enfant dans des rinceaux. En bas 



3S8 A LACE GUIDE FOB MAKERS AND COLLECTORS 

deux autres enf ants couches et au milieu un cartouche, dans lequel on lit : 
Auec Privilege du Eoi. Aij, avertissements au lecteur. Au verso le por- 
trait de Catherine de Bourbon, de trois quart a gauche, une fraise autour 
du cou, deux colliers sur la poitrine. Medaillon ovale, sur la bordure 
duquel on lit: Catherine de Bovrbon, sceur unicque du Boy. Aiij, ded- 
icace. Verso un sonnet. Page non cotee, sonnet aux Dames et Damoi- 
selles. Verso, Extrait du Privilege date de : Mante le 13 iour de juillet 
1593. M. d'Adda dans sa bibliographie mentionne une edition de 1595 et 
une de 1598. 

1872 — Vinciolo, F. — Les secondes ceurues et subtiles inuentions . . . le tout de 

poinct conte auec autres sortes de Carrez de nouuelle inuention non en- 

, cores veus A Paris, Par lean le Clerc, rue Sainct lean de Latran, a la 

Salamandre. 1599. Portion of Titlepage and some cuts are in the V. & A. 

M. 

1873 — Vinciolo,F. — Les secondes ceuvres, et subtiles inventions de Lingei'ie du 
Seigneur Federic de Vinciolo Venitien ; nouvellement augumente de plu- 
sieurs carrez de point de rebort. Dediee a Madame, sceur unique du roy. 
Ou sont representees plusieurs figures de Beseau, nombres de Carrez et 
Bordures tous differents, le tout de poinct conte, avec autres sortes de 
Carrez de nouvelles inventions non encore vues. A Paris. Par Jean le 
Clerc, rue sainct Jean de Latran, a la Salemandre, 1613. Avec privilege 
du Boy. A scarce and valuable volume, the fullest edition of the second 
part of Vinciolo 's work. 4to, 68 ff., 61 plates. It contains a Sonnet 
aux Dames & Damoyselles. The author's address to the reader, and a 
Dedication to "Madame, sceur unique du roy" (Catherine de Bourbon, 
sister of Henry IV, married, 1599, to the Due de Bar), signed by Le Clerc. 
On the second plates are her arms, a lozenge, France and Navarre with 
crown and cordeliere, and the same lozenge, also surmounts the decorated 
frontispiece, supported on either side by a genius (?) working at a frame 
and point coupe drapery. 7 Scripture subjects : The Salutation, St. 
Sacrement, Passion, Crucifixion, Adoration of the Kings, etc. ; the number 
of the stitches given to each. 2 Stomachers, and various patterns of "car- 
rez" and borders. 2 of "Point de rebort." Le nombre des points est 
partout indique. M. Brunet, Manuel du Libraire. ' ' Edition la plus com- 
plete de la deuxieme partie des dessins de Vinciolo. Elle contient outre 
les f euillets preliminairies, 61 planches en grande partie diff erentes des pre- 
cedentes et l'on y a ajoute le disc ours du lacis en vers. Nous en avons vu 
un exemplaire date de 1612 et un de 1603." Vente Pirovano, Borne, 1901. 
Vente Pichon, 1869. Vente Yemenitz, 1867. Bibliotheque publique de 
Bouen. 

1874 — Vinciolo, F. — 1st Edition, 1st Part. Les singuliers et nouveaux pourtraicts 
et ouvrages de Lingerie Servans de patrons a, faire toutes sortes de poincts, 
couppe, Lacis & autres. Dedie ala Boyne. Nouvellement inventez, au 
promt & cotentement, des nobles Dames & Damoiselles & autres gen tils es- 
prits, amateurs d'un tel art. Par le Seigneur Federick de Vinciolo 
Venitien. A Paris. Par lean le Clerc le ieune, rue Chartiere, au Chef 
Sainct Denis. 1587. Avec privilege du Boy. 



BIBLIOGRAPHY 389 

1875 — 2nd Part. See 1874. Les singuliers et nouveaux pourtraicts et ouvrages 
de Lingerie ou est represents les sept pianettes, & plusieurs autres figures 
& portraitz servans de patrons a faire de plusieurs cortes de Lacis. Nou- 
vellement inventez, au proffit & cotentment des nobles Dames & Damoi- 
selles & autres gentils esprits, amateurs d'un tel art. Par le Seigneur 
Federic de Vinciolo Venitien. A Paris. Par lean le Clere le ieune, rue 
Chartiere, au Chef Sainct Denis. 1587. Avec privilege du Roi. (At the 
end.) Privilege for nine years to "lean le Clerc le ieune, 'tailleur d'his- 
toires,' a Paris," signed 27 June, 1587. "De l'Imprimerie de David la 
Clerc Rue Frementel a l'Estoille d'Or." 4to. The first part consists of 
40 ff., 36 of patterns and 4 preliminary pages. P. 1. The title-page with 
decorated border, in which are two ladies at work. (See Title-page of this 
work.) P. 2. Dedication of "Le Seigneur Federic de Vinciolo aux Bene- 
volles Lecteurs." P. 3. Dedication "A la Royne," Louise de Vaude- 
mont, by Le Clerc. Signed last day of May, 1587. P. 4. A Sonnet. Then 
the 36 patterns set off in white on a black ground, viz., 20 "Ouvrages de 
point Couppe," The first plate with the double AA, according to the fashion 
introduced by Francis I. of using Greek monograms, standing for Queen 
Louise. On the second page are two escutcheons, one of France, the other 
with the letter H for Henry III. Then follow eight "Passemens de point 
Couppe," which are succeeded by eight more "Ouvrages de point 
Couppe." Part 2, 24 ff. Same decorated frontispiece and 22 plates of 
subjects in squares for stitches like the German patterns of the present 
day. These consist of the Seven Planets, Sol, Luna, Mars, Mercury, Jupi- 
ter, Venus and Saturn. Four in squares of various designs ; two of Amo- 
rini shooting stags and birds ; Neptune and the winds ; an arabesque with 
impresa of a column with circle and double triangle ; five borders and 
squares, and two "bordures a carreaux," diamond-shaped meshes. The 
last page contains the Extract from the Privilege. This is the original 
edition of Vinciolo, of which we know but one copy existing — that in the 
Library at Rouen. Bury-Palliser. It was followed the same year by two 
other editions, with alterations. Cette edition, comme encadrement du 
titre, comme disposition des feuillets, comme cotes des pages, comme mil- 
lesime est identi quern ent pareille a celle que nous venons de decrire (2 
edit.) Elle ne differe que par Penonce des deux titres, celui de la premiere 
partie et celui de la seconde dont les redactions ne sont pas les memes. 
Nous donnons ici ces deux titres, par lesquels on reconnaitra faeilement 
1 'edition presente. Quoique portant le meme millesime cet exemplaire est 
bien celui d'une seconde edition parue la meme annee 1587. On lit en effet 
dans l'enonce du titre de la premiere partie . . . Nouuellement inventez 
. . . &. E. Bocher. Vente Techner. We have received notice of there be- 
ing a copy of the original edition at Turin, in the Library of the Uni- 
versity. Biblio. Rouen. Both parts in one vol. 

1876 — Vinciolo, F. — 2nd Edition — 1st Part. Les singuliers et nouveaux pour- 
traicts pour les ouvrages de Lingerie. Nouvellement augmentez de plusi- 
eurs differens pourtraits servans de patrons a faire toutes sortes poincts 
couppe, Lacis, et autres reseau de poinct conte. Dedie a la Royne. Le 



390 A LACE GUIDE FOR MAKERS AND COLLECTORS 

tout invente, au proffit & contentement des nobles Dames & Damoiselles & 
autres gentils esprits, amateurs d'un tel art. Par le Seigneur Federic de 
Vinciolo Venitian. A Paris. Par lean le Clerc le ieune, rue Chartiere, au 
Chef Sainct Denis, pres le college de Coqueret. Avee privilege du Roy. 
1587. 

1877 — 2nd Part. See 1876. — Les singuliers et nouveaux pourtraicts pour les 
ouvrages de Lingerie ou avons augmete plusieurs nouveaux & dif- 
ferens portraitz de reseau, tout point conte, plusieurs nouvelles bor- 
dures et autres sortes differentes. Nouvellement inventez au promt & 
cotentement des nobles Dames & Damoiselles & autres gentils esprits ama- 
teurs d'un tel art. Par le Seigneur Federiek de Vinciolo Venitian. A 
Paris. Par lean le Clere le ieune, Rue Chartiere, au Cbef Sainct Denis, 
pres le college de Coqueret. Avec privilege du Roy. 1587. 1st Part, 40 ff. 
The same frontispiece, dedications, date, and sonnet, as the first, the same 
number of patterns, only the eight styled in the first "Passemens" are 
here all called, like the others, "Ouvrages" de point couppe. 2nd Part, 32 
ff. This part has 30 patterns, comprising the 24 of the first edition, and six 
additional ones, consisting of squares and two hunting subjects. Sur la 
derniere page au recto, l'extrait du Privilege, finissant par les mots: es 
lettres patentes, donnees a Paris, ce vingt septieme iour de juin 1587, de 
l'lmprimerie de Dauid. Le Clerc Rue Frementel a l'estoile d'or. Vente 
Pirovano, Rome, 1901. Bibliotheque Nationale. 

1878 — Vinciolo, F. — 3rd Edition, Parts 1 and 2, No. 1 — Les singuliers et nou- 
veaux Pourtraicts, du Seigneur Federic de Vinciolo Venitien, pour toutes 
sortes d 'ouvrages de Lingerie. Dedie a la Royne. Derechef et pour la troi- 
sieme fois augmentez Outre le reseau premier et le point couppe et lacis, 
de plusieurs beaux et differens portrais de reseau de point cote avec le 
. nombre des mailles, choze non encor venue ni inventee. A Paris. Par 
lean le Clerc le ieune, rue Chartiere, au Chef Sainct Denis, pres le college 
de Coqueret. Avec privilege du Roy. 1587. This must be the first im- 
pression of the third edition. Brussels, Biblio. Royal. 

1879— Vinciolo, F.— 3rd Edition, No. 2, 1st Part— Les Singuliers / / Et Nov- 
veaux Pour / / Traicts, du Seigneur Federic / / de Vinciolo Venitien, 
pour toutes // fortes d'ouurages de Lingerie // Dedie a la Royne // 
Derechef et Pour la / / Troisiesme fois Augmentez / / outre le refeau 
premier / / le point couppe lacis, / / deplufieurs beaux differens portrais 
de refeau / / de point cote, avec le nombre des mailles, ehofe / / non 
encor' vene ny inuentee. A PARIS // Par lean le Clerc le Ieune, au 
mont Saint / / Hilaire, au Chef Sainct Denis / / pres le Clos Bruneau 
/ / Avec privilege du Roy. 1588. Ire partie. Meme encadrement pour 
le titre que dans 1 'edition de 1587. Au verso de cette page le portrait 
grave sur bois de Henri III. Dans un medallion ovale, entoure d'un trait 
et d'un filet, ce portrait est de face, la tete de trois quart a gauche, coiffe 
d'un bonnet orne d'une plume sur le devant et d'un gros bouton en pier- 
rerie. Au cou le cordon du Saint-Esprit. On lit sur la bordure du me- 
dallion : Henri III. D. G. Franc, et Polon. Rex. Ce portrait se detache au 
milieu d'une couronne formee de deux branches de laurier, liees en bas 



BIBLIOGRAPHY 391 

par un ruban. Au-dessous, au bas de la page un quatrain entoure sur 
trois cotes par une petite frise gravee sur bois. Aij, avertissement au lec- 
teur. Au verso de cette page, le portrait de la reine Louise de Lorraine. 
Elle est de face, la tete de trois quart a droite, une fraise autour du cou, 
manches a creves, deux rangs de perles sur la poitrine. Dans la bordure 
du medaillon on lit : Lodoica Lotbaringa Fr. Ee. Le tout se detache au 
milieu d'une couronne formee de deux branobes de laurier, liees en bas 
par un ruban. Au-dessous, au bas de la page un quatrain entoure sur 
trois cotes, d'une petite frise gravee sur bois. Aiij, dedicace a la Reine. 
Eien au verso. Aiiij, sonnet aux Dames et Damoiselles. Verso. Extrait 
du Privilege finissant par les mots: De l'imprimerie de Dauid Le Clerc, 
rue S. Iacques au petit Bee deuant le college de Marmouttier. Quelque 
sexemplaires de cette meme edition de 1588 portent a la fin du privilege 
cette adresse qui differe de celle ci-dessus, De l'imprimerie de David Le 
Clerc, rue S. Jacques aux trois Mores, 1587. Eien au verso. Puis com- 
mencent les broderies imprimees seulement au recto des pages. Vente 
Destailleurs, 1895. Metro. Mus. 

1880 — 2nd Part. See 1879 — Les singuliers et nouveaux pourtraicts, du Seigneur 
Federic de Vinciolo Venitien, pour toutes sortes d'ouvrages de Lingerie. 
Dedie a la Royne. Derechef et pour la troisiesme fois augmentez, outre 
le reseau premier & le point couppe & lacis, de plusieurs beaux et diff erens 
portrais de reseau de point cote, avec le nombre des mailles, chose non en- 
cor veue, ny inventee. A Paris. Par lean le Clerc le ieune, au mont 
Saint Hilaire, au Cbef Sainct Denis, pres le Clos Bruneau. Avec privi- 
lege du Eoy. 1588. Au verso broderie. Puis commencent les pages de 
broderies au recto et au verso sauf quelques-unes qui au verso sont sim- 
plement quadrillees. Nous indiquerons cette particularity L, Lij, Liij, 
Liiij. — M, Mij, Miij, Miiij. — N, Nij, Niij, Niiij. — 0, Oij, Oiij, Oiiij. — P, 
le verso de cette page est quadrille. A partir de cette cote tous les versos 
sont quadrilles jusqu'a la fin mais sans dessins. Pij, Piij, Piiij. — Q, Qij, 
Qiij, Qiiij. — R, Rij, Riij, Riiij. — S, Sij, Siij, Siiij. — T, Tij, Tiij. Page sui- 
vante non cotee. Au recto un ecusson dans lequel on voit a gaucbe trois 
fleurs de lys, puis un aigle, et un saint Michel a cheval. L 'ecusson est sur- 
monte de la couronne Eoyale et le tout est entoure de deux colliers, celui 
de saint Michel, et celui du Saint-Esprit. Vente Destailleurs, 1895. This 
must be subsequent to the Brussels impression, as Jean le Clerc has 
changed his address. In the third edition, dorso of pp. 1 and 2, we have 
the addition of portraits of Louise de Vaudemont and Henry III., with a 
complimentary stanza of four lines under each. In his Advertisement au 
lecteur, Vinciolo says that having promised, since the first impression of 
his book, to give a "nouvelle bande d'ouvrages," and not to disappoint cer- 
tain ladies who have complained that he has not made "du reseau assez 
beau a leur fantaisie," I have wished for the third time to place before 
their eyes many new and different patterns of "reseau de point conte que 
j'ay cousus et attachez a la fin de mes premieres figures," beneath which 
I have put the number and quantity of the stitches. Same dedication and 
sonnet as before. Privilege for nine years dated Paris, 25 May, 1587. "De 



392 A LACE GUIDE FOR MAKERS AND COLLECTORS 

l'Imprimerie de David le Clerc, rue S. Jacques, au petit Bee, devant le 
College de Marmouttier. " 1st Part, 40 ff., 36 plates, 27 of point couppe, 
two stomachers, and seven "Passemens" de point couppe; the same let- 
tered "Ouvrages" as in the preceding impression. 2nd Part, 36 ff., 50 
plates. The thirty already published in the second edition, after 'which 
follow the twenty additional of "reseau de point conte" announced in the 
Preface, consisting of "6 Quarres, 2 Coins de Mouchoir, 2 Bordures, 6 
animals: Lion, Pelican, Unicorn, Stag, Peacock, and Griffon"; and the 
Four Seasons. "Deesse des fleurs, representant le Printemps," etc. These 
last twenty have the number of stitches given. On the last page is an es- 
cutcheon with the arms of France and Poland. Bib. Ste. Genevieve (with 
1 part). Bib. Nat. Grav. (with 1 part). 

1881 — Vinciolo, F. — 3rd Edition, No. 3, Parts 1 and 2. — A later impression still. 
Same title, date, portraits, dedication, and sonnet, only the Privilege is 
dated "ce douzieme jour de Novembre 1587. De l'Imprimerie de David 
le Clerc, Eue S. Jaques, aux trois Mores." 34 ff., 30 plates, 1st part; 50 
plates in 2nd. See 1879. Bib. de 1 'Arsenal. 

1882— Vinciolo, F.— 4th Edition, Parts 1 and 2.— Les Singuliers / / Et Nov- 
veaux Pourtraicts, Du Seigneur Federic / / de Vinciolo Venitien, pour 
toutes / / fortes d-ouurages de Lingerie / / DEDIE A LA EOYNE / / 
DEEECHEF ET POUB LA / / Quatrieme Fois Augmentez / / outre 
le refeau premier le point couppe lacis / / de piufieurs beaux differens 
portrais / / de refeau de point conte, avec le nombre des mailles, chose 
non encor / / vene ni inuentee / / A THUEIN / / Paris. Par Elea- 
zaro Thomyfi / / 1589. Metro. Mus. In-4° en deux parties. Meme en- 
cadrement du titre que dans 1 'edition de 1587. Aij, le portrait de Henri 
III et son entourage, le meme que celui decrit dans l'edition de 1588. Au 
verso, avertissement au lecteur. Aiij, le portrait de la Eeine et son en- 
tourage, le meme que celui decrit dans l'edition de 1588. Au verso, dedi- 
cace a, la Eeine finissant par les mots : Ce 12 juillet 1589. Vostre tres 
humble et tres obeyssant seruiteur et subiect Eleazaro Thomisi. Aiiij, 
sonnet aux dames et damoiselles. La premiere partie de 44 feuillets, con- 
tient 33 planches non compris le f rontispice et les portraits de Henri III 
et de sa femme. La seconde de 42 feuillets et de 36 planches. E. Bocher. 
Described in Cat. Cicognara with the date 1658. The 1st part 44 ff. and 
39 plates ; the 2nd with 36 plates. The copies of Vinciolo in the Bodleian 
bear the dates of 1588, 1603, and 1612. Baron Pichon has a copy of an im- 
pression of 1612. One at Bordeaux, in the Bib. de la Ville, is dated 1588. 
In a book sale at Antwerp, March, 1864, there was sold the following : — Lot 
528. Livre de Patrons de Lingerie dedie a la Royne, nouvellement in- 
vente par le seign' Frederic de Vinciolo, Venitien. Paris, Jean le Clerc, 
1598. — Les singuliers et nouveaux pourtraicts pour toutes sortes d'ou- 
vrages de Lingerie. Paris, Ibid., 1598. — Les secondes ozuvres et subfiles 
' inventions de Lingerie. Paris, Ibid., 1598. — Nouveaux pourtraicts de 
Point coupe et Dantelles en petite moyenne et grande forme. A. Mont- 
beliard, Jacques Foillet, 1598. 4 torn. 1 vol. in-4. v. anc. fig. sur bois. It 
went for 440 francs to a Mr. Eoss. We do not know the editions of 1598. 



BIBLIOGRAPHY 393 

As M. Leber observes, tbe various editions of Vinciolo, publisbed by Le 
Clerc and bis widow, from 1587 to 1623, and perbaps later, are only im- 
pressions more or less varied of tbe two distinct books, tbe one of point 
coupe, tbe otber of lacis. Tbe work of Vinciolo has been reprinted in sev- 
eral countries. In England it bas been translated and publisbed by Wolfe. 
At Liege, by Jean de Glen. Mr. Douce says that it was reprinted "at 
Strasburg, 1596, and at Basle, 1599, with a second part, which is rare, and 
sometimes contains a portrait by Gaultier of Catherine de Bourbon." In 
the Bib. Nat. a volume headed Vinciolo (Federigo) Peintre Yenetien et 
ses imitateurs contains, with "La pratique," etc., of Mignerak a German 
copy of the "nouveaux pourtraits," the work printed by Ludwig Kiinigs, 
at Basle, 1599 and a German work headed "Broderies sur filet," 50 plates 
engraved upon copper. Bury-Palliser. Catalogue Cicognara, Brussels, 
Bib. Boy. 

1884 — Vinciolo, Fde. — Les singuliers et novveavx povtraicts . . . pour toutes 
sortes d'ouurages de Lingerie . . . Derechef et povr la qvatrieme fois 
avgmentez, etc. Sm. 4to. Lyons (L. Odet), 1592. S. K. M. 

1885 — Vinciolo, F. — 3rd Edition, No. 4, Parts 1 and 2. — Les singuliers et nou- 
veaux pourtraicts, du Seigneur Frederic de Vinciolo, Venitien, pour toutes 
sortes d'ouvrages de Lingerie. Dedie a la Boyne Douairiere de France. 
De Bechef et pour la troisiesme fois augmentez, outre le reseau premier & 
le point couppe & lacis, de plusieurs beaux & differens portrais de reseau 
de point c5te, avec le nombre des mailles, chose non encore veue' ny inven- 
ted. A Paris. Par lean le Clerc, rue Saint Jean de Latran, a. la Sale- 
mandre. Avec privilege du Boy. 1595. This impression is dedicated to 
Louise de Vaudemont, now "Reine Douairiere," Henry III. having died in 
1589. British Museum — Grenville Lib. 

1886 — Vinciolo, F. — Les singvliers et noweaux porrtraicts du seigneur federic 
de Vinciolo, Venitien pour toutes sortes d'ouurages de Lingerie. Imprime 
a Basle par Lory Roy, 1599. In-8° oblong. Ce titre est dans un encadre- 
ment rectangulaire, forme par de petits carres et des bandes de guipure. 
Puis les broderies, copiees des ouvrages francais du Vinciolo. Elles sont 
tirees en largeur au lieu d'etre en hauteur. En somme, 52 feuillets dont 
un titre et 52 planches de broderies. Vente Yemeni tz. Catalogue du Bor- 
luut. B. M. 

1887 — Vinciolo, Federic. — Les Singuliers Et Nouueaux Pourtraicts Dw Seignevr 
Federic de Vinciolo Venitien, pour toutes sortes d'ouurages de Lingerie. 
Dedie A La Royne Douariere De France Derechef Et Pour La Troisiesme 
Fois Augmentez outre le reseau premier & le point couppe & lacis, de plu- 
sieurs beaux & differens portrais de reseau de point cote, auee le nombre 
des mailles, chose non encor' veue ny inuentee. A Paris Par lean le Clerc, 
rue Saint lean de Latran, a la Salemandre. Avec priuelege du Roy. 1601. 
[Extraict du Priuilege. De Vim primer ie de Dauid le Clerc, Rue Fre- 
mentel au petit Corbeil.] 4°. Title, Coat of Arms, 3 pp. text, 64 cuts. 
B. K. M. 



394 A LACE GUIDE FOR MAKERS AND COLLECTORS 

1888 — Vinciolo, F. — Les singuliers et nouveaux pourtraicts du seigneur Federic 
de Vinciolo, Venitien pour toutes sortes d'ouvrages de lingerie, dediee a 
la Reine douairiere de France, de rechef et pour la troisieme fois augmen- 
tez Outre le reseau premier et le point coupe et lacis, de plusieurs beaux et 
differents portraits de reseaux, de point compte avec le nombre de mail- 
les, chose non encore veue, ni inventee. A Paris pour Jean le Clerc, rue 
St. Jean de Latran, a la Salamandre Royalle, aveTc Priuilege du Roi, 1603. 
In-4° en deux parties. Meme encadrement jDour le titre que dans 1 'edition 
de 1587. Au verse le portrait de Henry III. Aij, l'avertissement au lec- 
teur, au verso le portrait de la Reine. Aiij, dedicace a la Reine. La Pre- 
miere partie comprend 40 feuillets. La Deuxieme partie comprend 32 
feuillets. 

1889 — Vinciolo, F. — Les singvliers et novveaux Pourtraicts du Seigneur Federic 
Vinciolo Venitien pour toutes sortes de Lingerie, Dedie a, la Royne, 
De rechef et pour la cinquieme fois augmentez oultre le reseau premier et 
le point couppe & lacis de plusieurs et beaux et differents pourtraits de 
reseau de point compte avec le nombre des mailles, choses non encore veue 
ni inuentee. A Lyon par Leonard Odet, MDCIII (1603). 2 parties en 1 
volume in-4°. Part 1. — Title, Portrait, 5 pp., and 42 leaves of cuts. Part 
II. — Title, 1. p. text, 68 cuts. E. F. Strange. Meme encadrement 
du titre que dans 1 'edition de 1587. Cette feuille est cotee A. Rien 
au verso. A2, portrait de Henri IV, renrplacant celui de Henri III. II 
est de trois quart a, gauche, col blanc, cuirasse avec echarpe blanche, dans 
un medallion ovale. Sur la bordure du medallion: Henri IIII, par la 
grace de Dieu, Roy de France et de Navarre. Ce medaillon est au milieu 
d'une couronne, formee de deux branches de laurier liees en bas en sautoir. 
Verso, une planche de broderie prise dans un autre ouvrage que les Vin- 
ciolo anterieurs et d'un tout autre caractere. Ce sont trois bandes hori- 
zontales de point compte. Dans celle du milieu, on voit un aigle et deux 
chiens. — L, L2, L3, au verso une broderie guipure qui semble prise dans 
un autre ouvrage que dans les Vinciolo anterieurs. L4, alphabet, rien au 
verso. Belin, 1911. B. K. M. 

1889a-Vinciolo, F. — Les sinvliers et novveaux Pourtraicts du seigneur Fed- 
eric Vinciolo Venitien pour toutes sortes d'ouurages de Lingerie, dedie a 
la Royne, de rechef et pour la cinquieme fois augmentez outre le reseau 
premier et le point couppe et lacis de plusieurs beaux et differents pour- 
traits de reseau de point compte avec le nombre de mailles, choses non en- 
core veue ni inuentee. A Lyon, par Leonard Odet, MDOII (1603). M2, 
sonnet aux dames et damoiselles. F4. Au verso de cette page, une tablette 
noire sur laquelle se detach ent en blanc les lettres d'un alphabet majus- 
cule. Elle est entouree de deux branches de laurier en sautoir. Depuis 
la cote M3, toutes les pages ont des broderies au recto et au verso. Celles 
des versos sont prises dans differents recueils, et entre autres dans La 
vera perfettione del disegno de J. Ostaus. En tout 80 feuillets et 115 plan- 
ches de broderies. Vente Yemenitz, Vente des Barreaux-Bernard, 1879. 
Vente Seillieres, 1890. Vente Coste, Vente Destailleurs, 1895. [Another 
edition, with the plates in different order.] See 1889. Vente Benedetto 
Maglione, 1894. B. K. M. 



BIBLIOGRAPHY 395 

1890 — Vinciolo, F. — Les singvliers et nouveaux povrtraicts du seignevr Federic 
de Vinciolo Venitien pour toutes sortes d'ouurages de Lingerie. Dedie 
a la Royne douairiere de France de rechef et pour la troisieme fois avg- 
mentez outre le reseau premier et le point couppe et lacis, de plusieurs 
beaux et differents portraits de reseau, de point conte auec le nombre de 
mailles, cbose non encore veue, ny inuente. A Paris pour lean Le Clerc, 
rue S. Jean de Latran a la Salemendre Eoyalle. Auec privilege du 
Roy, 1606. Ce titre est sur une page cotee A. Au verso de cette page le 
portrait de Henri III. Ici la couronne forme de deux branches de lau- 
riers qu'on voit dans les editions de 1588 et 1589 est remplacee par une 
couronne formee de fruits et de fleurs entrelacees. Les 4 vers qui sont en 
bas, sont d'une ecriture plus grosse que dans Pedition de 1588 et ne sont 
pas comme dans cette edition entoures de frises gravees sur bois. Page 
suivante cotee Aij, meme avertissement au lecteur. Seulement, en baut la 
frise sur bois de Pedition de 1588 est remplacee ici par un petit ecusson 
aux amies de France, surmonte d'une couronne Royale, et deux anges 
ailes, s'appuyant de cbaque cote sur cet ecusson. A droite et a gauche le 
motif se termine par une come d'abondance. Verso, le portrait de la 
Reine. Aiij, dedicace a la Reine, verso. Aiiij, sonnet aux dames et damoi- 
selles, verso. Puis commencent les broderies imprimees seulement au 
recto des pages. 36 planches dans cette premiere partie. Bib. Nationale. 

1891— Vinciolo, 3rd Edition, No. 5, Parts 1 and 2— The same title as that of 1595 
— differing only in date. Privilege for six years, "donne a Mantes, le 3 
Juillet 1593." At the foot, "De PImprimerie de David le Clerc au Petit 
Corbeil 1606." The 1st part has 32 ff. and 36 plates; 32 "Ouvrages de 
poinct couppe," and 4 stomachers. The 2nd part 46 plates, same as those 
of 1588, only four less. On the last page the escutcheon of France and 
Navarre. 

1892 — Vinciolo, F. — Les singuliers et nouveaux Pourtraicts du seigneur Federic 
de Vinciolo, Venitien pour toutes sortes d'ouurages de lingerie . . . de 
rechef et pour la troisieme fois augmentez outre le reseau premier et le 
point couppe et lacis, de plusieurs beaux et differens pourtraits de reseau, 
de point compte . . . Paris, Pour lean Le Clerc, 1612. 2 parties en 1 
volume in-4°. Vente de M. le baron Pichon, Paris, Potier, 1869. Cat. of 
"Weyhe, N. Y. No. 20, 1918. 

1893 — Vinciolo Seig. Frederic. — Les singuliers et nouveaux pourtraicts pour 
toutes sortes d 'ouvrages de lingerie. A Thurin par Eleazaro Thomysi. 
1658. Seconde edition avec la date de Thurin. Elle est la reproduction 
exacte de celle de 1589, aussi de Thurin. Quant aux planches elles sont les 
memes sauf quelques differences insignifiantes. In-8° oblong, divise en 
deux parties. La premiere est de 44 feuillets oontenant 39 planches non 
compris le Frontispice, et les portraits de Henri III et de sa femme. La 
seconde de 42 feuillets et de 36 planches. Nous croyons avec M. Alvin dit 
le marquis d'Adda que ces dates et le nom de Pimprimeur sont faux, et 
nous ajouterons qu'il est peu probable qu'un editeur puisse de son vivant 
reediter un ouvrage a 69 ans de distance. Catalogue Cicognara. 



396 A LACE GUIDE FOR MAKERS AND COLLECTORS 

1894 — Vinciolo, Federico — I singolari e nuovi disegni per lavori di biancheria, 

Under direction of Elisa Eieci. Bergamo, 1909. 
1895 — Viti de Marco, Marchesa Etta de — Pescocostanzo and its Lace-Makers 

The Monthly Review, March 1904, London. 

1896 — Voshage, Adele — Das Spitzenkloppeln, 2d edition. Leipzig, Eng. Twiet- 
meyer (1894). 

1897 — V. T., Alcide — Dentelle du Havre (Response). Inter medlar e des Chen 
cheurs et Curieux, 1896, Paris. 

1898 — Vosterman, Gruillaume — Ce est ung tractat de la noble art de l'eguille as- 
cauoir ounraiges despaine et toz traictz moult profitable po lingeries et 
ouuriers de culetes, a ussy pour tyseurs de damas, Teincturiers et Bro- 
deurs contenat cent et trente huyct Figures perfectement mises. Ainsi q | 
non point les subtilz engins. Mais les jeunes filles et enfans en peuuent 
en brief acquerre grand 'science et estre parfaictz en brief temps. Imprime 
a Anvers par moy Guillaume Vosterman. Sans date. Un rectangle cir- 
conscrit lui-meme par une composition ou l'on voit en haut un chapiteau, 
posant sur deux montants en forme de colonnes surmontes chacun d'une 
petite figure de femme brodant a 1 'aiguille. Au milieu du chapiteau un 
homme travaillant a un petit metier qu 'il tient des deux mains appuye sur 
son genou. En bas de la composition et au-dessous du rectangle dans le- 
quel est inscrit le titre, deux femmes travaillant, 1 'une a droite a un metier 
de basse lisse, l'autre a gauche a un petit metier pose sur une table de- 
vant elle. Elle est assise sur une chaise de trois quart a droite. Dans 
les ronds qui sont au milieu des colonnes, on voit a gauche un ecusson avec 
les couronnes des trois Rois, a droite un autre ecusson ou figure un oiseau. 
Au verso de cette page une gravure sur bois. Dans un interieur, un hom- 
me son bonnet sur la tete, son epee au cote, est assis sur un banc de bois 
a large dossier. De face la tete legerement penchee de trois quart a 
gauche, il a une main posee sur l'epaule et la poitrine d'une jeune femme 
assise a, gauche a, ses pieds. Celle-ci tient d'une main, une paire de ci- 
seaux, de l'autre une broderie, qu'elle appuie sur ses genoux croises. A 
gauche une vaste corbeille, et au fond une baie ouverte divisee en deux 
par une colonne. Au-dessous de cet alphabet on lit: She prent tot Ant- 
werpen in die Camerstrate in den gulden cen horanbp. imp. Willem Vos- 
terman. Ce livre est une copie du Pierre Quentel de 1527. Voir ci-des- 
sous. C'est egalement le meme livre sous un titre different que celui decrit 
ci-dessus. Alphabet quadrille. Alphabet sur fond blanc. Bib. Nat. 

1899 — Vostermans, Villm — A new Traatys as cocernynge the excellency of the 
nedle Worcke, spanisshe stitche and we avynge in the frame very neces- 
sary to all Theym, wiche desyre The perfect Knowledge of seamstry, quil- 
tinge and brodry worke coteinynge an. CXXX. VIIJ figures or tables so 
playnli made et lettout in portrature. The whiche is difficyll natolp for 
craftz mebut also gentleweme ioge damosels That therin may obtayne 
greate conynge delyte and pleasure, These boekes be to sell at Andwarp 
in the golden Unycorne at Villm Vorstermans. Ce titre est cote a. II est 
inscrit dans une composition absolument pareille a celle qui entoure le titre 
du volume intitule. "Ce est un tractat de la noble art de l'equille." Le 



BIBLIOGRAPHY 397 

verso est egalenient la reproduction du verso de cesusdit livre. Che prent 
tot Antwerpen in die Camerstrate in den gulden cen horanbp. imp. Willem 
Vosterman. 8vo, 24 ft'., 46 plates. Title in Gothic letters, with figures. 
P. 1, dorso : Woodcut of a woman at work and a man sitting by her side. 
Patterns mediaeval, small black squares, arabesques, etc. Vorsterman 
worked from 1514 to 1542. Silvestre, Marques Typographiques des im- 
primeurs en France, depuis, 1470. Bibliotheque de 1 'Arsenal. 

W 

1900— Waite, M.— Knitting Cards for Standards III and IV, Leeds 1891. B. M. 

1901— Walford, L. B.— Lace Camisole. Century. V. 61, pp. 178-186, Dec, 1900. 

1902 — Walter, M. L. — Lessons in Buttonhole Making and Fancy Stitching. Ladies 
Home Journal. V. 20, p. 51, February, 1903. 

1903 — Waree, A. — Les Dentelles vraies. Exposition internationale de Chicago, 
1893. 

1904 — Waring, J. B. — Masterpieces of Industrial Art at the International Ex- 
hibition, 1862 (Belgian lace, vol. II., plate 109.) 3 vols. fol. Lond., 1863. 
S. K. M. 

1905 — Warleigh, H. F. R. A. — Full Directions for Knitting Edgings. 72 pages. 
London, 1894. B. M. 

1906 — Washable Crocheted Pendants. Harpers Bazaar. V. 44, p. 729, Decem- 
ber, 1910. 

Wasmuth Reproductions. See Nos. 269, 602, 811. 

1907 — Watreman — Fardle Facions, 1555 

1908 — Webb, R., of Nottingham — A Note on Nottingham Lace. The Artist, 
April, 1901, London. 

1909 — Weigel — Wol-andstanclige und Niitzen-bringende Frauen. zimmer Ergoet- 
ziing. Par. a. Bur. Nurnberg. Weigel. s.d. In-folio oblong. 50 planches de 
broderies en taille douce, dont la majeure partie sont grandes et repliees. 
Vente Yemenitz, 1867. 

1910 — Weigel, J. Chr. — Zierlich webende Minerva, oder neu erfundenes Kunst- 
und Bild-Buch der Weber- und Zeichner- Arbeit, worinnen treue Anwei- 
sung geschieht, wie man kunslich wirken und schone Arbeit verfertigen 
soil, von der vierschafftigen en, bis auf zwey und dreissig-schafftige. 
Nurnberg (Johann Christoph Weigel). No date. 40 plates in sheets. 
S. K. M. 

1911 — Weigel, Johann Christoph — Zierlich webende Minerva oder neu-erfun- 
denes Kunst und Bild Buch, der Weber und ziechner arbeit Worinnen 
treue anweisung geschieht wie man Kunstlich wircken und schone arbeit 
verfertigen soil von der vier schafftigen an bis auf zwey und dreissig: 
schafflige, ingleichen, doppel. Colnische fuss zeppiche, gesteint oder ges- 
chacht auch gebrochene und bin und wieder arbeit von allerhand schonen 
zugen und bildern nach lauterauserlesenen und wol probirten stricken zu 
machen, Welchem noch bey gefiiger. Ein aus fuhrlich und deutlicher 
Bericht von Klein und gross gezogener arbeit so wol niederlandisch als 
auf schlecht nicht weniger allerhand schone mit galanten blum, werck oder 
andern Figuren prangende Teppiche nach den patronen oder Formen auf 



398 A LACE GUIDE FOR MAKERS AND COLLECTORS 

Teppiche und darnast zu verfertigen der gleichen nock nie ansliclit gekom- 
inen lieraus gegeben von Einem, Liebhaber dieser Wissenschaft't der sei- 
nem Rechsten zu diener beflissen. Niirberg Verlegts Johann Cbristopli 
Weigel Kunst handler. 5 pages indiquant la rnaniere de faire les points. 
Cet exemplaire parait incomplet. 

1912— Weitz— Spitzen Motive. Plauen, C. Stoll. 

1913 — Weldon's Practical Carrickinacross Lace — Book 200, Vol. 17, 39 designs. 
(Collection of Kursbeedt Manufacturing Co., N. Y.) 

1914 — Werder, L. Otto — Types modernes pour Dentelles — Broderies, Serie 1-2. 
Plauen, C. Stoll, 1898. 

1915— Werder— Dentelles nouvelles, 2 serien a 20 Tafeln. Plauen, C. Stoll. 1898. 

1916— Werder, at Saint Gall — Dentelle. L'Art decor atif, December, 1899, Paris. 

1917 — Werner, M. — Teil eines Faechers. Irische Spitze. Kunst gewerbeblatt, 
August, 1890, Leipzig. 

1918 — Wertman, A. 0. L. — Relief Crochet. Woman's Home Companion. V. 31, 
p. 41, February, 1904. 

1919 — Westlake, N. H. J. — Souvenir of the exhibition of Christian art at Mech- 
lin, Sept., 1864. (Plates 5 and 6. Needlework.) 4to. London and Ox- 
ford, 1866. S. K. M. 

1920 — Whishaw, Bernard — Illustrated Descriptive Account of the Museum of 
Andalucian Pottery and Lace, antique and modern. London, Smith, El- 
der & Co., 1913. 

1921 — Whishaw, Bernard & Ellen — Puntas and Passementerie. Connoisseur. 
V. 24, pp. 82-88. 

1922 — Whishaw, B. and Ellen M. — Punto de Aguja and Point d'Espagne. Con- 
noisseur. V. 26, pp. 51-55, January, 1910 and following. 

1923 — Whitby, J. E. — A Beautiful Specimen of Lace. (Grande piece a person- 
nages de la collection Montefiore au Musee du Cinquantenaire a Bruxel- 
les). The Ladies Field, June, 1904, London. 

1924 — Wiener Spitzenausstellung, 1906, Die — Herausgegeben von k.k. Osterr. 
Museum fur Kunst und Industrie in Wien. 60 plates, folio. Leipzig, 
1906. Einleitung von M. Dreger "Uberlick iiber die Entwicklungsges- 
chichte der Spitze. ' ' 

1925 — Wilkinson, M. E. — Art Needlework and Design. Point Lace. London, 
Scott, Greenwood & Son, 1907. 

1926— Wilkinson, M.— Table Laces. Harper's Bazaar. V. 37, pp. 1209-1211, 
December, 1903. 

1927 — Wilson, L. B. — Buttonhole Stitch as Applied to Venetian Ladder Work. 
Ladies Home Journal. V. 24, p. 43, February, 1907. 

1928 — Wilson, L. B. — Five Good Doily Designs. Ladies Home Journal. V. 20, 
p. 31, August, 1903. 

1929 — Wilson, L. B. — Good Eyelet Embroidery. Ladies Home Journal. V. 26, 
p. 37, April, 1909. 

1930— Wilson, L. B.— Italian Cut-work. Harper's Bazaar. V. 38, pp. 90-92, 
January, 1904. 

1931 — Wilson, L. B. — New Australian Crochet. Ladies Home Journal. V. 28, 
p. 53, October, 1911. 



BIBLIOGRAPHY 399 

1932 — Wilson, L. B. — New Designs in Filet Crochet. Ladies Home Journal. V 

28, p. 24, August, 1911. 
1933 — Wilson, L. B. — New Irish. Princess Lace. Ladies Home Journal. V. 26, 

p. 51, January, 1909. 
1934 — Wilson, L. B. — Roman Cut-work. Ladies Home Journal. V. 24, p. 55, 

January, 1907. 
1935 — Wilson, L. B. — Venetian Crochet. Ladies Home Journal. V. 29, p. 41, 

February, 1912. 
1936 — Wilton, Countess of — The Art of Needlework from the earliest ages. 

8vo. London. 1844. S. K. M. 
1937 — W T inser, Margaret — Elementary Course in Lace-making. 1913. 
1938— W T intin, J.— Lace Trade Calculator. London, 1897, etc. 8vo. B. M. 
1939 — Wolf, J. — Translation of Vinciolo by J. Wolf. New and singular pat- 

ternes and workes of Linnen. Serving for patternes to make all sortes of 

Lace edging and Cut-workes. Newly invented for the profite and content- 
ment of Ladies, Gentlewomen, and others that are desirous of this Arte. 

London : Imprinted by J. Wolfe and Edward White, 1591. Owned in 1919 

by Mr. W. A. W T hite, N. Y. 
^1940 — Wonderful Laces, Mrs. Leland Stanford's. Ladies Home Journal. V. 

22, pp. 24-25, July, 1905. 
1941 — Woodward, M. E. — A Text Book on Cluny and Torchon Laces. For sale 

by Sara Hadley. 
1942 — Woodward, P. — Handbook to the law of copyright in registered Designs, 

with special application to class 9, lace. 92 pages. Nottingham, 1891. 

B. M. 
1943 — Wright, Agnes F. — Lace in Interior Decorations. House and Garden. 

V. 32, pp. 50-51, 68, November, 1917. 
1944 — Wyatt, Sir M. D. — Industrial Arts of the Nineteenth Century, at the 

Great Exhibition, 1851. (Lace and Embroidery.) 2 vols. fol. London, 

1851-53. S. K. M. 

1945 — Yoni-Beaugourdon — Carton pour dentelle. L'Art decoratif, March, 1902, 

Paris. 
1946 — Yorke, Harry W., at Nottingham — Pro jets de rideaux de dentelles. Art 

applique, 1 re annee, Paris. 
1947 — Youghal Lace. International Studio. V. 20, pp. 212-215, September, 1903. 
1948 — Youmans, E. A. — Making of Lace. Popidar Science Monthly. V. 8, p 1 . 

521. 

1949 — Ziegler d'Ulm, Marx — Weber Kunst und bild Buch. (Livre de point coupe 
et dessins de broderie par Marx Ziegler d'Ulm). Augsbourg. Koppmeyer, 
1677. In-4° oblong. Planches gravees sur bois. Vente Yemenitz, 1867. 

1949a-Zoppino, Niccolo — Convivo de le belle donne. With 22 leaves of designs. 
Venice, 1531. 



400 A LACE GUIDE FOB MAKERS AND COLLECTORS 

1950 — Zoppino, Nicolo — Convivio delle belle donne, dove con li nuovi raceami . . . 
Pinisce il convivio delle . . . Nuovamente stampato in Vinegia, per Nicolo 
d 'Aristotle, detto Zopino del mesede d'Agosto MDXXXII. In-4°. Sur le 
titre, marque d'imprimerie du Zoppino. (Saint-Nicholas.) Epitre de Zop- 
pino. Alle gentille donne . . . Fin de 1 'epitre, au verso. Ici commencent les 
broderies. 24 feuillets. Exemplaire cbez le peintre, Chevalier Bertini a 
Milan. Oxford, Bib. Bodleian. 

1951 — Zoppino, Nicolo — Esemplario di lavori: dove le tenere fanciulle & altre 
donne nobile potranno facilnient imparare id modo & ordine di lavorare, 
cusire, racamare, & finalmente far tutte quelle gentillezze & lodevoli opere, 
le quali po fare una donna virtuosa con laco in mano, con li suoi compasse 
& misure. Vinezia, per Nicolo D ' Aristotile detto Zoppino MDXXIX. 8vo. 
46 plates. The Cav re Merli quotes another edition, date 1530, in the pos- 
session of the Avvocate Francesco Pianesani, and another he believes of 
1529. Paris, Bib. de 1 'Arsenal. 11,952. 

1952 — Zoppino, Nicolo — Esemplario di lavori; doue le tenere fanciulle & altre 
done nobile potranno facilmete imparare il modo et ordine di lauorare, cu- 
sire, raccamare, et finalmente far tutte quelle gentilezze et lodeuili opere, 
le quali po fare una donna virtuosa co laco in mano, con li suoi compasse 
et misure. A la fin, au verso du dernier feuillet : Finisce il libro intitu- 
lato, Esemplaro de lauori. Stampato in Vinegia per Nicolo d 'Aristotile, 
detto Zopino, MDXXIX (1529), del mese di Agosto. Petit in-4°. Ce 
volume est compose d'un titre imprime en rouge et noir dans un frontis- 
pice grave sur bois, d'un feuillet contenant une epitre de Nicolo Zoppino, 
all. virtuosi et gentillissimi lettori . . . et de 26 feuillets contenant les 
modeles de broderie imprimes au recto et au verso. Vente Libri. Biblio- 
theque Boldeienne d 'Oxford. 

1953 — Zoppino, N. — Essemplario di lauoi doue le tenere fanciulle & altre donne 
nobile potranno f acilmente imparare il modo & ordine di lauorare e cusire : 
raccammare: finalmente far tutte quelle gentilezze et lodeuili opere: le- 
quali po fare una donna uirtuosa con laco in mano : con li suoi compassi & 
misure. [At the end] Finnisse el libro intitulato Exemplario di lauori. 
Stampato in Vinegia per Nicolo a" Aristotile detto Zoppino. MDXXX. 4°. 
Cut. 51 leaves. 

1954 — Zoppino, Nicolo — Esemplario di lauori doue le teners fanciulle. 1530. 
Ongania Beproduction, 1878. 

1955 — Zoppino, Nicolo — Gli vniversali di tutti e bei dissegni, Baccami et moderni 
lauori quali un bello inteletto humano un pellegrino ingegno si de huomo 
come di Donne (pro). Con l'aco in mano, in questa nostra etade lo deuol- 
mente, Nuovamente stampato etmuti in luce, MDXXXII (1532). Ce titre 
est dans un entourage forme de petits bois rectangulaires. En haut aux 
angles une tete de femme. Celle de droite de profil a, gauche, celle de 
gauche de profil a droite. En bas deux terms formant cariatides. Page 
suivante au recto, dedicace: Alle virtuosi giovanni et gentillissime fanci- 
ulle di Baccami et lauori Moderni studiosissime Nicolas Zoppino. s. d. 
64 ff. avec planches de broderies et dentelles gravees sur bois. Au verso 
de la derniere page, un petit bois representant un eveque assis, sa crosse a 



BIBLIOGRAPHY 401 

la main. Une femme a gauche a genoux lui offre une corbeille de fruits. 
Au-dessons : Pinisce gli universali di Tutti e bei dissegni. Eaccami et 
moderni lauorni stampati per Nicolo d'Artistotile detto Zoppino. Del mese 
di Agosto. Vente Piot, 1891. 

1956 — Zoppino, Nicolo. — Gli vniversali de i belli Eecami antichi, e moderni, ne 
iquali un pellegrino ingegno si di huomo come di donna, potra in quest 
nostra eta con l'ago uertuosamente esercitarsi. Non ancbora da alcuni 
altri dati in luce, MDXXXVII (1537). A la fin: Finisce gli vniversali de i 
belli Eecami antichi e moderni stampati per Nicolo d'Aristotile detto Zop- 
pino del Mese di Marzo, MDXXXVII (1537). In-4°. II se compose de 20 
or 25 ff. non chiffres et contient 37 grandes figures sur bois de dentelles, 
travaux a 1 'aiguille et autres compositions avec figures d'hommes, de fem- 
mes et d'animaux. Le titre est encadre par une large bordure historiee et 
sur le sur le verso se trouve une epitre du Zoppino : A gli veruosi Gioua- 
nini et gentilissime Fanciulle. Vente Pirovano, Eome, 1901. Milan, Cava- 
liere Bertini. 

1957 — Zoppino, N. — Gli universali de i belli Eecami antichi, et moderni; etc. 
(49 pp. of lace designs and titles.) Venice, 1537. (Facsimile reprint. On- 
gania, Venice, 1876). S. K. M. Metro. Mus. 

1958 — Zoppino, N. — Gli Universali de i belli Eecami antichi e moderni ne i quali 
un pellegrino ingegno, si di huomo come di donna, potra in questra nostra 
eta con l'ago uertuosamente esercitar si non anchora da alcuni altri dati 
in luce. 49 designs for lace work. 1537, facsimile reprint Venice, 1877. 
Folio. 

Zoppino. — See Aristotile, Nicolo d\ 



INDEX OF BOBBIN LACE GROUNDS 
AND FILLINGS 

PAGE 

Abruzzian Leseatelle — Line C, Col. 16 131 

Abruzzian Mezza Cambruccia — Line A, Col. 16 90 

Abruzzian or Pescolane Cross Pattern — Line B, Col. 16 110 

Abruzzian Piscitelli — Line D, Col. 16 150 

Abruzzian "Point and Flat"— Line H, Col. 16 237 

Alost, Square-mesbed Valenciennes of Bruges, Ypres and (braided 4 or 4% 

times) — Line D, Col. 7 140 

Alost, Square-meshed Valenciennes of Ypres and (braided 5 or 5y<> times) — 

Line E, Col. 7 161 

Antwerp ; Potten Kant ; Flemish — Line F, Col. 4 180 

Armelle, Thin Cluny Petals, Leaves, Armeletta, Grains, Seeds, "Wheat Ears, 

Paddles— Line C, Col. 15 130 

Armeletta, Thin Cluny Petals, Leaves, Armelle, Grains, Seeds, Wheat Ears, 

Paddles— Line C, Col. 15 130 

Araignees Carrees en Tulle Double, Les — Line H, Col. 2 220 

Araignees Rondes, Les; Round Spiders in Twice-twisted Hole Ground — 

Line G, Col. 2 199 

Arras ; Tulle Ground ; Lille ; Filoche ; Fond Clair ; Fond Simple ; Brabant ; 

Trolly Net; Tondern; Marche; Point de Hollande; Dutsche Slag — 

Line F, Col. 3 179 

Arras : see also Reseau Simple — Line G, Col. 6 204 

B 

Bailleul, Bound-meshed Valenciennes of Harlebeke, Bruges, Courtrai, 

(braided 4 times) (often twice, Dentelle episcopate) — Line G, Col. 11. 209 

Bar, Hexagonal Devonshire Filling — Line B, Col. 9 102 

Bars and Cutworks, "Bohemian Edged" Devonshire— Line D, Col. 10 143 

Bars and Cutworks, Devonshire Winkie Pin — Line C, Col. 10 124 

Binche, Virgin Ground, Pin Check, Pink Check, Ornamental Ground, Cinq 

Trous, Point Carre-^Line A, Col. 2 71 

Binche Mode— Line E, Col. 10 164 

Binche Spiders, Bound, Open-eyed Brabant, Oeil de Perdrix, Reseau Rosace, 

Point de Flandre— Line G, Col. 4 201 

"Bohemian Edged" Devonshire Bars and Cutworks— Line D, Col. 10 143 

Bohemian Ground — Line G, Col. 5 203 

403 



404 A LACE GUIDE FOR MAKERS AND COLLECTORS 

PAGE 
Brabant, Arras, Tulle Ground, Lille, Filoche, Fond Clair, Fond Simple, Trol- 
ly Net, Tondern, Marche, Point de Hollande, Dutsche Slag — Line F, 

Col. 3 179 

Brabant, Bincbe Spiders, Bound, Open-eyed, Oeil de Perdrix, Beseau Bo- 

sace, Point de Flandre — Line G, Col. 4 201 

Brick, Devonshire, Mignonnette — Line C, Col. 8 „ 122 

Brides, Fond de— Line H, Col. 3 221 

Bruges, Bound-meshed Valenciennes of Harlebeke, Bailleul, Courtrai 

(braided 4 times) (often twice, Dentelle episcopale) — Line G, Col. 11. 209 
Bruges, Square-meshed Valenciennes of Alost, Ypres and (braided 4 or 4^ 

times)— Line D, Col. 7 140 

Bruges ( ?), Tulle (2 twists)— Line E, Col. 3 157 

Brussels; Droschel; Vrai Beseau (fait sans epingles) ; Drochel — Line B, 

Col. 3 96 

Brussels; Droschel; Vrai Beseau; Point d'Angleterre Net; Drochel — Line 

C, Col. 3 117 

Buckingham: see also Reseau Simple — Line G, Col. 6 204 

Buratto ; Filet— Line E, Col. 5 159 

Byzantine, Medici, Florentine Knots — Line H, Col. 13 234 

Chantilly; Star Mesh; Double Ground, Point de Paris; Point de Six; Eter- 
nelle ; Point Double ; Trenne ; Fond Chant; Grammont; Engelsche 

Grond— Line A, Col. 5 75 

Cinq Trous; Binche; Virgin Ground; Pin Check; Pink Check; Ornamental 

Ground ; Point Carre — Line A, Col. 2 71 

Cluny, Thin Petals, Leaves, Armelle, Armeletta, Grains, Seeds, Wheat 

Ears, Paddles— Line C, Col. 15 130 

Courtrai, Bound-meshed Valenciennes of Bailleul, Harlebeke, Bruges, 

(braided 4 times) (often twice, Dentelle episcopale) — Line G, Col. 11. 209 
Courtrai, Square-meshed Valenciennes of Menin and (braided 3 or 3% 

times)— Line C, Col. 7 121 

Cross Pattern, Abruzzian or Pescolane — Line B, Col. 16 110 

Cushion, Devonshire — Line B, Col. 8 101 

Cutwork Net, Devonshire— Line G, Col. 8 206 

Outworks, "Bohemian Edged" Devonshire Bars and — Line D, Col. 10 143 

Outworks, Devonshire Winkie Pin Bars and — Line C, Col. 10 124 

Outworks, Triangular, Fan-shaped Points d'Esprits or — Line A, Col. 15.. . 89 

D 

Demi-Marguerites — Line F, Col. 15 194 

Demi-Point; Net Stitch, Lattice Ground, Toile Ouverte, Point Beseau — Line 

A, Col. 1 70 

Dentelle episcopale; Bound-meshed Valenciennes of Harlebeke, Bruges, 
Bailleul, Courtrai (braided 4 times) (often twice, Dentelle episcopale) 
—Line G, Col. 11 209 

Devonshire Bars and Outworks, "Bohemian Edged" — Line D, Col. 10. ... 143 



INDEX OF BOBBIN LACE GROUNDS AND FILLINGS 405 

PAGE 

Devonshire Brick ; Mignonnette — Line C, Col. 8 122 

Devonshire Cushion — Line B, Col. 8 101 

Devonshire Cutwork Net— Line G, Col. 8 206 

Devonshire Diamond Filling — Line A, Col. 10 82 

Devonshire Double Ground Pin — Line C, Col. 9 123 

Devonshire Four Pearl Filling — Line A, Col. 9 80 

Devonshire Hexagonal Bar Filling — Line B, Col. 9 102 

Devonshire Honeycomb Filling — Line E, Col. 9 163 

Devonshire Mignonnette ; Devonshire Brick — Line C, Col. 8 122 

Devonshire Pin Filling — Line A, Col. 8 79 

Devonshire Point d 'Esprit Net— Line H, Col. 8 227 

Devonshire Second Swing Filling — Line E, Col. 8 162 

Devonshire Swing Filling; Spot Stitch— Line F, Col. 8 184 

Devonshire Taunton — Line D, Col. 8 141 

Devonshire Toad-in-the-Hole— Line F, Col. 10 187 

Devonshire Wall Filling— Line G, Col. 10 208 

Devonshire Winkie Pin Bars and Cutworks — Line C, Col. 10 124 

Devonshire Wire Ground— Line G, Col. 9 207 

Diamond Filling, Devonshire — Line A, Col. 10 82 

Dice Holes; Slanting Hole— Line B, Col. 12 105 

Dieppe Ground; Twice- twisted Hole Ground; Hole Stitch with Twice- 
twisted Thread; Locherschlag mit Zweimal gedrehten Faden — Line 

H, Col. 1 219 

Dieppe, Petits Pois de— Line E, Col. 2 156 

Dieppe, Tulle de — Line E, Col. 1 155 

Dieppe Three-Thread Valenciennes — Line F, Col. 17 196 

Double Ground ; Star Mesh ; Chantilly ; Point de Paris ; Point de Six ; Eter- 
nelle; Point Double; Trenne; Fond Chant; Grammont; Engelsche 

Grond— Line A, Col. 5 75 

Double Ground Pin, Devonshire — Line C, Col. 9 123 

Double Picots— Line D, Col. 15 149 

Droschel; Brussels; Vrai Reseau (fait sans epingles) ; Drochel — Line B, 

Col. 3 96 

Droschel; Brussels; Vrai Reseau; Point d'Angleterre Net; Drochel — Line C, 

Col. 3 117 

Droschel de Bruxelles ; Drochel — Line D, Col. 3 136 

Du Puy Point de Paris Variation or Lock Stitch; Torchon Mode — Line H, 

Col. 6 225 

Du Puy, Tulle— Line B, Col. 1 94 

Dutsche Slag; Arras; Tulle Ground; Lille; Filoche; Fond Clair; Fond Sim- 
ple ; Brabant ; Trolly Net ; Tondern ; Marche ; Point de Hollande — Line 
F, Col. 3 179 

E 

Einfacher Gittergrund; Plain Lattice Ground; Filet — Line D, Col. 5 138 

Einfacher Locherschlag; Plain Hole Ground; Torchon; Reseau Stitch — 

Line C, Col. 1 114 



406 A LACE GUIDE FOR MAKERS AND COLLECTORS 

PAGE 

Eisgrond, Malines, Mechlin, Fond de Glace, Ijsgrond — Line A, Col. 3 73 

Engelsche Grond; Ckantilly; Star Mesh; Double Ground; Point de Paris; 
Point de Six; Eternelle; Point Double; Trenne; Fond Chant; Gram- 
niont — Line A, Col. 5 75 

Episcopate, Dentelle ; Round-meshed Valenciennes of Bailleul, Harlebeke, 
Bruges, Courtrai (braided 4 times) (often twice,"Dentelle episcopale) 
—Line G, Col. 11 209 

Eternelle ; Chantilly ; Star Mesh ; Double Ground ; Point de Paris ; Point de 
Six ; Point Double ; Trenne ; Fond Chant ; Grammont ; Engelsche 
Grond — Line A, Col. 5 75 

Eyeless Spiders ; Fond de Neige — Line H, Col. 4 222 

Fancy Zeccatello, A— Line F, Col. 12 190 

Fan-shaped, Triangular Points d'Esprits or Cutworks — Line A, Col. 15.... 89 
Fat Maltese Petals, Leaves, Seeds, Grains, Wheat Ears, Paddles — Line B, 

Col. 15 109 

Filet, An Italian— with Toile Dots— Line D, Col. 14 148 

Filet ; Buratto— Line E, Col. 5 159 

Filet; Plain Lattice Ground; Einfacher Gittergrund — Line D, Col. 5 138 

Filet; Un Fond Hollandais— Line F, Col. 5 181 

Filoche ; Brabant ; Arras ; Tulle Ground ; Lille ; Fond Clair ; Fond Simple ; 
Trolly Net; Tondern; Marche; Point de Hollande; Dutsche Slag — 

Line F, Col. 3 179 

Fish with Two Horizontal Bars— Line G, Col. 16 214 

Five or Six Sided Milanese Mesh— Line H, Col. 11 231 

Flemish ; Potten Kant ; Antwerp— Line F, Col 4 180 

Flemish ; Trolle Kant ; Fond Armure, Spinnekop — Line D, Col. 2 135 

Flemish Filling, A; Lille Mode, A— Line D, Col. 4 137 

Flemish Filling— Line H, Col. 9 229 

Florentine, Byzantine, Medici Knots — Line H, Col. 13 234 

Fond Armure ; Flemish ; Trolle Kant, Spinnekop — Line D, Col. 2 135 

Fond Chant ; Chantilly ; Star Mesh ; Double Ground ; Point de Paris ; Point 
de Six ; Eternelle ; Point Double ; Trenne; Grammont; Engelsche 

Grond— Line A, Col. 5 75 

Fond Chant (Palliser) ; Point de Paris; Fond Clair— Line C, Col. 11 125 

Fond Clair; Point de Paris; Fond Chant (Palliser)— Line C, Col. 11 125 

Fond Clair; Arras; Tulle Ground; Lille; Filoche; Fond Simple; Brabant; 
Trolly Net; Tondern; Marche; Point de Hollande; Dutsche Slag — 

Line F, Col. 3 179 

Fond de Brides— Line H, Col. 3 221 

Fond de Glace; Malines; Mechlin; Ijsgrond, Eisgrond — Line A, Col. 3 73 

Fond de la Vierge ; Virgin Ground ; Ornamental Ground ; Point Carre — Line 

B, Col. 2 95 

Fond de Milan ; Old Buckingham— Line C, Col. 5 119 

Fond de Neige ; Eyeless Spiders— Line H, Col. 4 222 

Fond de Neige ; Punto di Neve— Line A, Col. 18 93 



INDEX OF BOBBIN LACE GROUNDS AND FILLINGS 407 

PAGE 

Fond Hollandais, Un; Filet— Line F, Col. 5 181 

Fond Simple ; Arras ; Tulle Ground ; Lille ; Filoche; Fond Clair; Brabant; 
Trolly Net; Tondern; Marehe; Point de Hollande; Dutsche Slag — 

Line F, Col. 3 179 

Four Pearl Filling, Devonshire — Line A, Col. 9 80 

Gand, Square-meshed Valenciennes of Menin, Ghent or (braided 2 or 2% 

times)— Line B, Col. 7 100 

Gekreuzter Gittergrund; Lattice Ground (3 twists) — Line B, Col. 5 98 

Gelosia; Bose Ground; Scandinavian Ground; Point du Mariage; Tulle 

Double— Line C, Col. 4 118 

Genoese Grilled Six Leaved Marguerite — Line C, Col. 18 133 

Genoese, or Beticello Mode — Line H, Col. 5 224 

Genre Valenciennes ; Tulle de Vienne — Line G, Col. 1 198 

German or Bussian Torchon — Line D, Col. 12 145 

Ghent, Square-meshed Valenciennes of Menin, Gand or (braided 2 or 2y 2 

times)— Line B, Col. 7 100 

Einfacher Gittergrund ; Plain Lattice Ground ; Filet — Line D, Col 5 138 

Gekreuzter Gittergrund; Lattice Ground (3 twists) — Line B, Col. 5 98 

Grains, Fat Maltese Petals, Leaves, Seeds, Wheat Ears, Paddles — Line B, 

Col. 15 109 

Grains, Thin Cluny Petals, Leaves, Arm elle, Armeletta, Seeds, Wheat Ears, 

Paddles— Line C, Col. 15 130 

Grammont; Chantilly; Star Mesh; Double Ground; Point de Paris; Point 

de Six; Eternelle; Point Double; Trenne; Fond Chant; Engelsche 

Grond— Line A, Col. 5 75 

H 

Harlebeke, Bound-meshed Valenciennes of Bruges, Bailleul, Courtrai, 

(braided 4 times) (often twice, Dentelle episcopale) — Line G, Col. 11. 209 

Hexagonal Bar Filling, Devonshire — Line B, Col. 9 102 

Hollandais, Un Fond, Filet— Line F, Col. 5 181 

Hole Ground, Plain, Torchon; Beseau Stitch; Einfacher Locherschlag — 

Line C, Col. 1 114 

Hole Ground, Twice-twisted, Dieppe Ground, Hole Stitch with Twice-twisted 

Thread, Locherschlag mit zweimal gedrehten Faden — Line H, Col. 1. . . 219 

Hole Ground, Twisted, Tulle Double, Maglia di Spagna — Line D, Col. 1 134 

Holes, Dice ; Slanting Hole— Line B, Col. 12 105 

Hole, Slanting ; Dice Holes— Line B, Col. 12 105 

Hole Stitch with Twice- twisted Thread; Dieppe Ground; Twice-twisted 
Hole Ground ; Locherschlag mit zweimal gedrehten Faden — Line H, 

Col. 1 219 

Honeycomb Filling, Devonshire — Line E, Col. 9 163 

Honfleur, Square-meshed Valenciennes of (braided 1 or iy 2 times) — Line 

A, Col. 7 77 



408 A LACE GUIDE FOB MAKERS AND COLLECTORS 

PAGE 

Ijsgrond, Malines, Mechlin, Fond de Glace, Eisgrond — Line A, Col. 3 73 

Irish Ground— Line G, Col. 13 211 

Italian Filet with Toile Dots, An— Line D, Col. 14 148 

Italian Ground, A Spotted— Line B, Col. 14 107 

Italian Open-eyed, Cable-like Spiders — Line F, Col. 14. -. 193 

Italian Six Legged Spiders with Eibbons — Line H, Col. 14 235 

Italian Spider with Eye, An— Line C, Col. 14 129 

Italian Spiders with Four Twisted Horizontal Bars — Line E, Col. 14 171 

Italian Spiders with Two Horizontal Bars — Line G, Col. 14 212 

Lattice Ground ; Demi-Point ; Net Stitch ; Toile Ouverte ; Point Eeseau — 

Line A, Col. 1 70 

Lattice Ground; Gekreuzter Gittergrund (3 twists) — Line B, Col. 5 98 

Lattice Ground, Plain ; Einf acher Gittergrund ; Filet — Line D, Col. 5 138 

Leaves, Fat Maltese Petals, Seeds, Grains, Wheat Ears, Paddles — Line B, 

Col. 15 109 

Leaves, Thin Cluny Petals, Armelle, Armeletta, Grains, Seeds, Wheat Ears, 

Paddles— Line C, Col. 15 130 

Lescatelle, Abruzzian — Line C, Col. 16 131 

Lille; Arras; Tulle Ground; Filoche; Fond Clair; Fond Simple; Brabant; 

Trolly Net; Tondern; Marche; Point de Hollande; Dutsche Slag — 

Line F, Col. 3 179 

Lille : see also Reseau Simple — Line G, Col. 6 204 

Lille Jour, A— Line F, Col. 9 185 

Lille Mode, A ; Flemish Filling, A.— Line D, Col. 4 137 

Locherschlag— Line F, Col. 6 182 

Locherschlag mit zweimal gedrehten Faden; Dieppe Ground; Twice-twisted 

Hole Ground; Hole Stitch with Twice-twisted Thread— Line H, Col. 1. 219 
Lock Stitch or Du Puy Point de Paris Variation; Torchon Mode — Line H, 

Col. 6 225 

M 

Maglia di Spagna ; Eedina — Line F, Col. 1 177 

Maglia di Spagna ; Twisted Hole Ground ; Tulle Double — Line D, Col. 1 134 

Malines; Mechlin; Ijsgrond; Fond de Glace, Eisgrond — Line A, Col. 3 73 

Maltese, Fat Petals, Leaves, Seeds, Grains, Wheat Ears, Paddles — Line B, 

Col. 15 109 

Marche; Arras; Tulle Ground; Lille; Filoche; Fond Clair; Fond Simple; 
Brabant; Trolly Net; Tondern, Point de Hollande; Dutsche Slag- 
Line F. Col. 3 179 

Marche : see also Reseau Simple — Line G, Col. 6 204 

Marguerites a Centre de Toile — Line E, Col. 18 176 

Marguerites a Six Petales (one sided joint) — Line E, Col. 15 173 



INDEX OF BOBBIN LACE GROUNDS AND FILLINGS 409 

PAGE 

Marguerites Centres a Huit — Line G, Col. 15 213 

Marguerites, Demi Line F, Col. 15 194 

Marguerites, Genoese Grilled Six Leaved — Line C, Col. 18 133 

Mechlin; Malines; Ijsgrond; Fond de Glace, Eisgrond — Line A, Col. 3 73 

Medici, Florentine, Byzantine Knots — Line H, Col. 13 234 

Menin, Square-meshed Valenciennes of Courtrai and (braided 3 or 3y 2 

times)— Line C, Col. 7 121 

Menin, Square-meshed Valenciennes of Ghent or Gand and (braided 2 or 

2y 2 times)— Line B, Col. 7 100 

Mezza Cambruccia, Abruzzian — Line A, Col. 16 90 

Mignonnette ; Devonshire Brick — Line C, Col. 8 122 

Milanese Mesh, Five or Six-Sided— Line H, Col. 11 231 

Mille Pattes, Les— Line F, Col. 2 178 

Moulinet— Line B, Col. 18 112 

N 

Net Stitch ; Demi-Point ; Lattice Ground Toile Ouverte ; Point Reseau — Line 

A, Col. 1 70 

O 

Oeil de Perdrix, Round, Open-eyed, Brabant, Binche Spiders, Reseau Ro- 
sace ; Point de Flandre — Line G, Col. 4 201 

Old Buckingham ; Fond de Milan— Line C, Col. 5 119 

Open-eyed, Round, Brabant, Binche Spiders; Oeil de Perdrix; Reseau 

Rosace ; Point de Flandre— Line G, Col. 4 201 

Ornamental Ground; Binche; Virgin Ground; Pin Check; Pink Check; 

Cinq Trous ; Point Carre — Line A, Col. 2 71 

Ornamental Ground; Virgin Ground; Fond de la Vierge; Point Carre — 

Line B, Col. 2 95 

Ornamental Ground with Striped Effect in Diagonal Squares, Ziergrund mit 

Streifen-Musterung in Karo-Einteilung — Line D, Col. 6 139 

Ornamental Ground with Zigzag Diagonal Stripes ; Ziergrund mit Striefen- 

Musterung in Zacken-Einteilung — Line E, Col. 6 160 

Paddles, Fat Maltese Petals, Leaves, Seeds, Grains, Wheat Ears — Line B, 

Col. 15 109 

Paddles, Thin Cluny Petals, Leaves, Armelle, Armeletta, Grains, Seeds, 

Wheat Ears— Line C, Col. 15 130 

Pescolane or Abruzzian Cross Pattern — Line B, Col. 16 110 

Petals, Fat Maltese Leaves, Seeds, Grains, Wheat Ears, Paddles — Line B, 

Col. 15 109 

Petals, Thin Cluny Leaves, Armelle, Armeletta, Grains, Seeds, Wheat Ears, 

Paddles— Line C, Col. 15 130 



410 A LACE GUIDE FOB MAKERS AND COLLECTORS 

PAGE 

Petits Pois de Dieppe— Line E, Col. 2 156 

Picots, Double— Line D, Col. 15 149 

Picots, Point de Tresse with Knotted— Line E, Col. 13 169 

Picots, Point de Tresse with Plain — in Side Joints — Line C, Col. 13 128 

Picots, Point de Tresse with Plain, Side— (Line D, Col. 13 147 

Picots, Point de Tresse with Plain — inLower Joints — Line B, Col. 13 106 

Picots, Valenciennes — Line F, Col. 13 v . 192 

Pin Check ; Binche ; Virgin Ground ; Pink Check ; Ornamental Ground, Cinq 

Trous ; Point Carre— Line A, Col. 2 71 

Pin Filling, Devonshire — Line A, Col. 8 79 

Pink Check; Binche; Virgin Ground; Pin Check; Ornamental Ground; Cinq 

Trous ; Point Carre— Line A, Col. 2 71 

Piscitelli, Abruzzian — Line D, Col. 16 150 

Plain Hole Ground; Torchon; Reseau Stitcb ; Einfacher Locherschlag — Line 

C, Col. 1 114 

Plain Lattice Ground ; Filet ; Einfacher Gittergrund — Line D, Col. 5 138 

Plain Side Picots, Point de Tresse with — Line D, Col. 13 147 

Plain Torchon Spiders — Line E, Col. 4 158 

"Point a la Vierge" nach Slavischer Art; Slavonian Style Virgin Point — 

Line C, Col. 6 120 

"Point and Flat," Abruzzian— Line H, Col. 16 238 

Point Carre, Binche; Virgin Ground; Pin Check; Pink Check, Ornamental 

Ground ; Cinq Trous— Line A, Col. 2 71 

Point Carre; Virgin Ground; Ornamental Ground; Fond de la Vierge — 

Line B, Col. 2 95 

Point dAngleterre Net; Brussels; Droschel; Vrai Reseau; Drochel — Line 

C, Col. 3 117 

Point d 'Esprit Net, Devonshire— Line H, Col. 8 227 

Point de Flandre, Round, Open-eyed Brabant, Binche Spiders, Oeil de Per- 

drix, Reseau Rosace — Line G, Col. 4 201 

Point de Hollande ; Arras ; Tulle Ground ; Lille ; Filoche ; Fond Clair, Fond 

Simple; Brabant; Trolly Net; Tondern; Marche; Dutsche Slag — 

Line F, Col. 3 179 

Point de Paris; Chantilly; Star Mesh; Double Ground; Point de Six; Eter- 

nelle ; Point Double ; Trenne ; Fond Chant ; Grammont ; Engelsche 

Grond— Line A, Col. 5 75 

Point de Paris; Fond Clair; Fond Chant (Palliser)— Line C, Col. 11 125 

Point de Paris Variation, Du Puy or Lock Stitch; Torchon Mode — Line H, 

Col. 6 225 

Point de Paris Variation with Tressed Sides — Line E, Col. 11 166 

Point de Paris Variation, Redina or Tulle Double — Line D, Col. 11 144 

Point de Six ; Chantilly ; Star Mesh ; Double Ground ; Point de Paris ; Eter- 

nelle ; Point Double ; Trenne ; Fond Chant ; Grammont ; Engelsche 

Grond — Line A, Col. 5 75 

Point de Tresse with Knotted Picots— Line E, Col. 13 169 

Point de Tresse with Plain Side Picots — Line D, Col. 13 147 

Point de Tresse with Plain Picots in Lower Joints — Line B, Col. 13 166 



INDEX OF BOBBIN LACE GROUNDS AND FILLINGS 411 

PAGE 

Point de Tresse with Plain Picots in Side Joints — Line C, Col. 13 128 

Point Double, Chantilly, Star Mesh, Double Ground, Point de Paris, Point de 

Six, Eternelle, Trenne, Fond Chant, Grammont, Engelsche Grond— 

Line A, Col. 5 75 

Point du Mariage; Rose Ground; Scandinavian Ground; Gelosia; Tulle 

Double— Line C, Col. 4 118 

Point du Mariage fait a, la Torchon au Demi-Point — Line A, Col. 6 78 

Point Jeunet ou Genet; Scotch Broom Stitch; Ziergrund mit Schragstreifen- 

Musterung— Line C, Col. 2 115 

Point Reseau; Net Stitch; Demi-Point; Lattice Ground; Toile Ouverte — 

Line A, Col. 1 70 

Points d'Esprits, Triangular, Fan-Shaped Cutworks or — Line A, Col. 15. . . 89 

Potten Kant; Flemish ; Antwerp — Line F, Col. 4 180 

Punto di Neve ; Fond de Neige— Line A, Col. 18 93 

R 

Eedina ; Maglia di Spagna — Line F, Col. 1 177 

Redina or Tulle Double Point de Paris Variation — Line D, Col. 11 144 

Reseau Rosace; Round, Open-eyed Brabant, Binche Spiders; Oeil de 

Perdrix ; Point de Flandre— Line G, Col. 4 201 

Reseau Simple, Analogue a Celui de Lille, d 'Arras, de Marche, de Tondern, 

de Buckingham — Line G, Col. 6 204 

Reseau Stitch ; Plain Hole Ground ; Torchon ; Einf acher Locherschlag — Line 

C, Col. 1 114 

Reseau, Vrai (fait sans epingles) ; Brussels; Droschel; Drochel — Line B, 

Col. 3 96 

Reseau, Vrai; Brussels; Droschel; Point d' Angle terre Net; Drochel — Line 

C, Col. 3 117 

Reticello or Genoese Mode — Line H, Col 5 224 

Rose Ground; Scandinavian Ground; Point du Mariage; Gelosia; Tulle 

Double— Line C, Col. 4 118 

Round-meshed Valenciennes (singly twisted joint, centuple braid) (Bruges 

has triple braid) — Line G, Col. 7 205 

Round-meshed Valenciennes of Harlebeke, Bruges, Courtrai, Bailleul 

(braided 4 times) (often twice, Dentelle episcopale) — Line G, Col. 11. 209 
Round, Open-eyed, Brabant, Binche Spiders; Oeil de Perdrix; Reseau Ro- 
sace ; Point de Flandre — Line G, Col. 4 201 

Round Spiders in Twice-twisted Hole Ground; Les Araignees Rondes — Line 

G, Col. 2 199 

Round Valenciennes (doubly twisted joint, triple braid) — Line H, Col. 7. . . . 226 
Russian or German Torchon — Line D, Col. 12 145 

Scandinavian Ground; Rose Ground; Point du Mariage; Gelosia; Tulle 

Double— Line C, Col. 4 118 

Scotch Broom Stitch ; Point Jeunet ou Genet ; Ziergrund mit Schragstreif en 

— Musterung— Line C, Col. 2 115 



412 A LACE GUIDE FOR MAKERS AND COLLECTORS 

PAGE 

Second Swing Filling, Devonshire — Line E, Col. 8 162 

Seeds, Fat Maltese Petals, Leaves, Grains, Wheat Ears, Paddles, — Line B, 

Col. 15 109 

Seeds, Thin Cluny Petals, Leaves, Armelle, Armeletta, Grains, Wheat Ears, 

Paddles— Line C, Col. 15 130 

Six or Five Sided Milanese Mesh— Line H, Col. 11 ; 231 

Slanting Hole ; Dice Holes— Line B, Col. 12 105 

Slavonian Style Virgin Point, "Point a la Vierge" nach Slavischer Art — 

Line C, Col. 6 120 

Spagna, Maglia di, Twisted Hole Ground ; Tulle Double — Line D, Col. 1. . . . 134 

Spider, An Italian, with Eye— Line C, Col. 14 129 

Spiders, Eyeless ; Fond de Neige — Line H. Col. 4 222 

Spiders in Twice-twisted Hole Ground, Bound; Les Araignees Bondes — 

Line G, Col. 2 199 

Spiders, Italian, Open-eyed, Cable-like — Line F, Col. 14 193 

Spiders, Italian Six-Legged, with Bibbons — Line H, Col. 14 235 

Spiders, Italian, with 4 twisted Horizontal Bars — Line E, Col. 14 171 

Spiders, Italian, with 2 horizontal Bars — Line G, Col. 14 212 

Spiders, Plain Torchon — Line E, Col. 4 158 

Spiders, Bound, Open-eyed, Brabant, Binche; Oeil de Perdrix; Beseau Bo- 

sace ; Point de Flandre — Line G, Col. 4 201 

Spinnekop; Flemish; Trolle Kant; Fond Armure — Line D, Col. 2 135 

Spot Stitch ; Devonshire Swing Filling— Line F, Col. 8 184 

Spotted Italian Ground, A — Line B, Col. 14 107 

Square-meshed Valenciennes of Alost and Ypres (braided 5 or 5y 2 times) — 

Line E, Col. 7 161 

Square-meshed Valenciennes of Bruges, Ypres and Alost (braided 4 or 4% 

times)— Line D, Col. 7 140 

Square-meshed Valenciennes of Courtrai and Menin (braided 3 or 3 1 /) times) 

—Line C, Col. 7 121 

Square-meshed Valenciennes of Honfleur (braided 1 or l!/> times) — Line A, 

Col. 7 77 

Square-meshed Valenciennes of Menin, Ghent or Gaud (braided 2 or 2y 2 

times)— Line B, Col. 7 100 

Star Mesh ; Chantilly ; Double Ground ; Point de Paris ; Point de Six ; Eter- 

nelle ; Point Double ; Trenne ; Fond Chant ; Grammont ; Engelsche 

Grond— Line A, Col. 5 75 

"Sunspots"— Line H, Col. 12 232 

Swing Filling, Devonshire, Spot Stitch — Line F, Col. 8 184 

Swing Filling, Devonshire Second — Line E, Col. 8 162 

Taunton, Devonshire — Line D, Col. 8 141 

Thin, Cluny Petals, Leaves, Armelle, Armeletta, Grains, Seeds, Wheat Ears, 

Paddles— Line C, Col. 15 130 

Toad-in-the-Hole, Devonshire— Line F, Col. 10 187 



INDEX OF BOBBIN LACE GROUNDS AND FILLINGS 413 

PAGE 
Toile Ouverte, Net Stitch; Demi-Point; Lattice Ground; Point Eeseau — 

Line A, Col. 1. . . . . 70 

Tondern; Arras; Tulle Ground; Filoche; Fond Clair; Fond Simple; Bra- 
bant; Trolly Net; Marclie; Point de Hollande; Dutsche Slag, Lille — 

Line F, Col. 3 179 

Tondern : see also Reseau Simple — Line G, Col. 6 204 

Torchon— Line E. Col. 12 167 

Torchon Mode, Lock Stitch or Du Puy Point de Paris Variation — Line H, 

Col. 6 225 

Torchon ; Plain Hole Ground ; Eeseau Stitch ; Einf acher Locherschlag — Line 

C, Col. 1 114 

Torchon, Eussian or German — Line D, Col. 12 145 

Torchon Spiders, Plain — Line E, Col. 4 158 

Trenne; Chantilly; Star Mesh; Double Ground; Point de Paris; Point de 
Six; Eternelle; Point Double; Fond Chant; Grammont; Engelsche 

Grond— Line A, Col. 5 75 

Trentino— Line A, Col. 14 87 

Tresse, Point de, with Knotted Picots— Line E, Col. 13 169 

Tresse, Point de, with Plain Picots in Lower Joints — Line B, Col. 13 106 

Tresse, Point de, with Plain Picots in Side Joints — Line C, Col. 13 128 

Tresse, Point de, with Plain, Side Picots— Line D, Col. 13 147 

Tresses with Open Hooked Joints — Line H, Col. 17 239 

Triangular, Fan-Shaped Points d'Esprits or Cutworks — Line A, Col. 15. . . . 89 

Trolle Kant ; Flemish ; Fond Armure ; Spinnekop — Line D, Col. 2 135 

Trolly Net ; Arras ; Tulle Ground ; Lille ; Filoche ; Fond Clair ; Fond Simple ; 
Brabant; Tondern; Marche; Point de Hollande; Dutsche Slag — Line 

F, Col. 3 179 



Trude 
Trude 
Trude 
Trude 



"A" Ground 
"B" Ground 
"C" Ground 
"D" Ground 



Trude "E" Ground 



Trude 
Trude 
Trude 
Trude 



"F' 
"G' 
"H' 



Ground 
Ground 
Ground 



I" Ground 
Trude "J" Ground 
Trude "K" Ground 
Trude "L" Ground 
Trude "N" Ground 
Trude "0" Ground 
Trude "P" Ground 
Trude "Q" Ground 
Trude "E" Ground 
Trude "S" Ground 
Trude "T" Ground 



original) (American) — Line A, Col. 4 74 

original) (American) — Line B, Col. 4 97 

original) (American) — Line D, Col. 9 142 

original) (American) — Line A, Col. 11 83 

original) (American) — Line B, Col. 11 104 

original) (American) — Line F, Col. 11 189 

original) (American) — Line A, Col. 12 84 

original) (American) — Line C, Col. 12 126 

original) (American) — Line A, Col. 13 85 

original) (American) — Line H, Col. 15 237 

original) (American) — Line E, Col. 16 174 

original) (American) — Line F, Col. 16 195 

original) (American) — Line A, Col. 17 91 

original) (American) — Line B, Col. 17 Ill 

original) (American) — Line C, Col. 17 132 

original) (American) — Line D, Col. 17 151 

original) (American) — Line G, Col. 17 215 

original) (American) — Line D, Col. 18 153 

original) (American) — Line G, Col. 18 217 



Tulle (Bruges?) (2 twists)— Line E, Col. 3 157 



414 A LACE GUIDE FOR MAKERS AND COLLECTORS 

PAGE 

Tulle (5 twists)— Line G, Col. 3 200 

Tulle de Dieppe— Line E, Col. 1 155 

Tulle de Vienne; Genre Valenciennes — Line G, Col. 1 198 

Tulle Double Done on the Square— Line F, Col. 18 197 

Tulle Double or Eedina Point de Paris Variation — Line D, Col. 11 144 

Tulle Double; Rose Ground; Scandinavian Ground; Point du Mariage; 

Gelosia— Line C, Col. 4 118 

Tulle Double; Twisted Hole Ground; Maglia di Spagna — Line D, Col. 1. . . . 134 

Tulle Du Puy— Line B, Col. 1 94 

Tulle Ground; Arras; Lille; Filocbe; Fond Clair; Fond Simple; Brabant; 
Trolly Net; Tondern; Marcbe; Point de Hollande; Diitsche Slag — 

Line F, Col. 3 179 

Twice-twisted Hole Ground ; Dieppe Ground ; Hole Stitch with Twice-twist- 
ed Thread ; Locherschlag mit zweimal gedrehten Faden — Line H, Col. 

1 219 

Twice-twisted Virgin Point — mit zweimal gedrehtem Schlusschlag — Line B, 

Col. 6 99 

Twisted Hole Ground ; Tulle Double ; Maglia di Spagna— Line D, Col. 1. . . . 134 

Valenciennes, Dieppe Three-thread — Line F, Col. 17 196 

Valenciennes, Genre ; Tulle de Vienne — Line G, Col. 1 198 

Valenciennes Mixte— Line F, Col. 7 183 

Valenciennes Picots— Line F, Col. 13 192 

Valenciennes, Round (doubly twisted joint, triple braid) — Line H, Col. 7.. . 226 
Valenciennes, Round-meshed (singly twisted joint, centuple braid) (Bruges 

has triple braid)— Line G, Col. 7 205 

Valenciennes, Round-meshed of Harlebeke, Bruges, Courtrai, Bailleul (braid- 
ed 4 times) (often twice, Dentelle episcopale) — Line G, Col. 11 209 

Valenciennes, Square-meshed of Alost and Ypres (braided 5 or 5y 2 times) — 

Line E, Col. 7 161 

Valenciennes, Square-meshed of Bruges, Ypres and Alost (braided 4 or 4!/2 

times)— Line D, Col. 7 140 

Valenciennes, Square-meshed of Courtrai and Menin (braided 3 or 3% times) 

—Line C, Col. 7 121 

Valenciennes, Square-meshed of Honfleur (braided 1 or l l /o times) — Line A, 

Col. 7 77 

Valenciennes, Square-meshed of Menin, Ghent or Gand (braided 2 or 2y 2 

times)— Line B, Col. 7 100 

Vienne, Tulle de ; Genre Valenciennes — Line G, Col. 1 198 

Virgin Ground; Ornamental Ground; Fond de la Vierge ; Point Carre — Line 

B, Col. 2 95 

Virgin Ground ; Pin Check ; Pink Check ; Ornamental Ground ; Binche ; Cinq 

Trous ; Point Carre — Line A, Col. 2 71 

Virgin Point, Slavonian Style; "Point a la Vierge" nach Slavischer Art — 

Line C, Col. 6 120 



INDEX OF BOBBIN LACE GROUNDS AND FILLINGS 415 

PAGE 
Virgin Point, Twice-twisted — mit zweimal gedrehtern Schlusschlag — Line B, 

Col. 6 99 

Vrai Reseau (fait sans epingles) ; Brussels; Droschel; Drochel — Line B, 

Col. 3 96 

Vrai Reseau; Brussels; Droschel; Point d'Angleterre Net; Drocliel — Line C, 

Col. 3 117 

W 

Wall Filling, Devonshire— Line G, Col. 10 208 

Wheat Ears, Fat Maltese Petals, Leaves, Seeds, Grains, Paddles — Line B, 

Col. 15 109 

Wheat Ears, Thin Cluny Petals, Leaves, Armelle, Armeletta, Grains, Seeds, 

Paddles— Line C, Col. 15 130 

Winkie Pin Bars and Cutworks, Devonshire — Line C, Col. 10 124 

Wire Ground, Devonshire — Line G, Col. 9 207 

Ypres, Square-meshed Valenciennes of Alost and (braided 5 or 5% times) 

—Line E, Col. 7 161 

Ypres, Square-meshed Valenciennes of Bruges, Alost and (braided 4 or 4!/2 

times)— Line D, Col. 7 140 

Zeccatello— Line G, Col. 12 210 

Zeccatello, A Fancy— Line F, Col. 12 190 

Ziergrund mit Schragstreifen — Musterung, Scotch Broom Stitch; Point Jeu- 

net ou Genet — Line C, Col. 2 115 

Ziergrund mit Streifen — Musterung in Karo — Einteilung; Ornamental 

Ground with Striped Effect in Diagonal Squares — Line D, Col. 6. . . . 139 
Ziergrund mit Streifen — Musterung in Zacken — Einteilung; Ornamental 

Ground with Zigzag Diagonal Stripes — Line E, Col. 6 160 



Line B, Col. 10 103 

Line E, Col. 17 175 

Line H, Col. 10 230 

Line H, Col. 18. (first) 241 

Line H, Col. 18. (second) 242 



I 



ilHlBP 



^cw 3 tBWBCjiw*fcgi>a feM»^» » -«^,j. 



- .-■ 



Col. 7. 

I 'ol. 8. 



EXECUTED BY THE AUTHOR 

ORIGINAL IN THE METROPOLITAN MUSEUM OF ART. 

NEW YORK CITY 



Net Stitch, LuHe.OWA Dam-Point, l'..i|. Onverlo, Point IKeeM. 

Virgin Ground, PinW, P»* cl »* O™"""'"" 1 Orouno, »""*«■ Cm « T 
Malinoe, Mechlin ijfcrond, Pond dc Qlnee. 

Trudp "A" fl 1 (orieiua!) ( American). 

Sl.,t -Meah DonbleOJv? 1 -''« l '"™' p '-* si <- Eternelle, Pt. Double, Trenne, Clnuitilly, Fd. Chant, Orammont. En|jel„he Qrou.l 
Point du Mnriogj'fo'l > " Tmtal "" n «"i' P °''"- 
Suuen-nieahed ValeM*"' °' Honfleiir (braided 1 or V- 
Devonshire Pin Filling. 
DovoHBliire Four par! Filling. 



Col. -I. 
t'ol. 5. 
Col. G 



Tulle liu Puy. „. .... . 

Virgin Ground Oruueontal Ground, Pond dc la Vicrgc, Point Onrrc 
Urnm-ls, Droichel Vtai R&omi Unit aana cpinglca). 
Trude "B" Gronad (original) (American). 
Lattice Ground, 0*i.«' Giltcrgrund (3 timtn). 
Tmoc-tmated Vintia Point-nut r.vioial gedrchtcm Schlus8chl«g, 

Sunore-meahed vStion™ of Sic Ghent or Good braided ■-• 

Devonshire Cm a 

I levonshiro Hexagonl Bar Filling. 



AN INDEXED, COMPARATIVE SAMPLER OF 145 
MADE TO THE SCALE Of NO. 70 D.M.C. LINEN THREAD AND 

MADE IN NEW YOR 






mm 



Col. l. 
Col. J. 
Col. 3. 



Plain Hole Ground, Torchon. R.Wuu Siit-h. Kiufncher I hn.-Mug 

Scotch Broom Stitti Point Jeonel oh Genet, Ziergrund mit Sehrngstrcfen-Mnstemng. 

Broads, Drosehd, Vrflln^n, Point dVAxgleUrre^t. _ 

Rase Ground, Scandinavian Ground, Point du Manage, GHos,.-,. Tulle Double. 

Old Buckingham, Few! de Milan. 

Slavonian Style Virgin Point, "Point a la V.erge" nnch Sliivwh 

Squarc-mcshed ValtftiennM of Courtrai rind Me 

Devonshire Briek, Jlignonnette. 

Devonshire Double Ground Pin. 



Col. I. Twisted Hole Groin* Tulle Double, Mnglia 

« ..I. 2. Flemish, Trolle Kant Fond Armure. 

Col. :t. Droschcl de Hnixella. 

Col, 1. A FI.-iul.s1i Pilling. sJLuTc Mode. 

Col, 5. Plain Lattice GrouS, Pilot, Einfncher Gillcrgruud. 

Col C. OraamontalOroundSrilh Striped Effect in Diagonal Squares, Ziergrund nut Streifen-Mus 

Col, T. Square-meshed Vnlefieiiniw of Bruges, Ypres and Alost (braided 4 or 4% times). 

Col. 8. Devonshire Taunton. 

Col, D. Tnide "C" Ground [original) (American). 



Col I Tulle do Dieppe. 
Col. 2. Pctits Pos dc Dieppe- 
Col. 3. Tnillc (Brogesl) (2twisls| 
Col, 4 Plain Torchon Spiders. 



Col, 5. 
Col. 6. 

Col. 1. 



Burotto. Filet 

Ornamental Gronnd with Zigzag Diagonal Su n ..,, V.^iv I m>i s-ir-n 

Sqoare-meshed Valenciennes of Alost and Ypres ' hraide<l 5 or oVa 
Devonsliire Second Swing Pilling. 
Devonshire Honeycomb Filling. 




I'd!. 1. Itedina. 

i „l 2. Let Mills Pattra. 

CoL 3, Tulle Gd, Lille, Piloehe. Fd. Clair, Fd, Simpl. Ural 

Col. 4. Potten Kaot, Flemish, Antwerp, 

CoL 5. Dn Fond Hollandais, Filet. 

Col. *i, I/iicherschlag. 

CoL 7. ValencicnneaMixte. 

Col. 6. Devonshire Swing Filling, Spot Stitch. 

CoL 9. A Lille Jour. 



BOBBIN LACE GROUNDS AND FILLINGS 

JOINED BY PILLOW-WROUGHT BANDS OF CLOTH-STITCH 

|C, 1912-1717 




(Si. 10, Devonshire Diamond Filling. 

Col. 11. Trodc"D"Gr .1 (original) (American) 

Col. 12. Trade "O" Ground (original) (Ai 
, '"'- 13, Trade "I" Ground (original) (Ai 
Col, ]■!. Trentiuo. 

"' 15. ^riongulur, Fan-shaped Points d'Esprita 

"'■ "' (bruzzian Mc/wi Cambruccin. 
1 "' '' ^ude"N" Ground (original) (American) 
Col. 18. K,,,i de Neigc, Punto di Neve. 



Col. 11. ^ttde "E" Ground (original) (Am 

CoJ. 12. Ik.,: ETolcs, Slanting Hole. 

Col. 13. i,; IlI ,],. Tressc with Plain Picots in Lower Joints. 

Col. It ^Spotted Italian Ground. 

Col. 15. Fit, Maltese Petals, Leaves, Seeds, Grains, Wheat E 

jol, m, Airtuaion or Pcscolane Cross Pattern. 

Ol- 1". Bude "0" Ground (original) (American). 

Col. IB. jLdinrt. 



Mum 
Pi 

ml 

? ? f 
W ? f 

¥ ? V 

Art- 



i If 1*11- 

m* ml 






Col in. 

Col. li. 

Col. 12. 

Col 13. 

Col. 14. 

Col, 15. 

Col. 10. 



mm 



DovonVre Wiulrie Pin Burs and Outworks. 

Point <!■ Paris, ' I Man-, Pond Chant (Palliser), 

Trade iH" Ground [original) (American) 

Point ilt Trcssc willi Plain Picots in Side Joints. 

An ItoLw, Spider with Eye. 

Tliiii Cltiny Petals, Leaves, Armelle, Armeletta, Grains, Seeds, Win'. 

AlruTMiii Lescntclle. 

Trude "1"' Ground (original) (Amerioan] 

(pnocsc Grilled Six-leaved Marguerites. 



m&& gamm w&m- 

mmkMA M 

ppp 



sss 





4 5 ■£ i Si? * \h 







£tf>#NP*f 



vonshire Bars ami Outworks. 
Point de Paris Variation. 



'Bohemian Edged 

Tulle Double or He 

Torchon, Russian o 

Point de Trcsse with Plain, Side Picots. 

An Italian Filet with Toile Dots. 

Double Picots. 

Alnizziun Piseitelli. 

Trade "Q" Ground (original) (American) 

T.-uili. "S" Ground (original) (American). 



